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Designing the new Enterprise 

S3. 50 U.S./54.50 CANADA 





& the Game Show 
of Doom 

John Carpenter: 
How to survive 


James Cameron 



Bruce Dem 
tough in 




Gerry Anderson's 






as contestant 

Ben Richards 

1ST — (Inside Star Trek) 


NO. 1 


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8001 Star Trek The Next Generation 

NO. 7 


The 'Bible' was designed by Gene 
Roddenberry whose genius master- 
minded the creation of the show. 
The Writers Guide launches the 
new series. Who are the characters? 
Where do they work, live & play? 
Where are they going and why? 


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A genetic variation discovered on an all 
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Princess Bride— Page 29 

Amazon Women— Page 18 

Running Man— Page 36 



The fantasy filmmaker has found 
a new way to thrive in the 
Hollywood jungle 


They're invading screens 
everywhere, armed with deadly 
cardboard spears! 



Far from "The Outer Limits," he 
delights in the dangers of a 
"World Cone Wild" 








Once upon a time, they kidnap- 
ped the most beautiful girl in the 
world & made a movie . . . 


Responding to reader comments, 
director James Cameron voices 
other thoughts about Ripley, 
Jones & the Alien Queen 



Putting Arnold Schwarzenegger 
through his paces is an SF exer- 
cise for writer Steven de Souza 


With "The Gamesters of 
Triskelion," Margaret Armen 
gambled her way into the 
"Star Trek" universe 


Novelist J.M. Diliard unleashes 
space vampires on Kirk & crew 

Joseph Barbera— Page 58 


Bringing the new look to "Trek" 
technology is the creative 
challenge for Andy Probert & 
Rick Stern bach 


Sirens blare as Supermarionation 
master Gerry Anderson assigns 
alien cops to a future beat 


With partner William Hanna, 
Joseph Barbera created an 
empire of animated antics 


It's heaven when she falls from 
the skies into a young man's lap 








Where dinosaurs roam 





Galaxy Rangers ride! 





Polly Freas, Paul Frees 



STARLOC Is published monthly by O'QUINN studios, inc., 475 Park Avenue South, New York, n.y. 10016. STARLOC is a registered trademark of O'Quinn Studios, inc. 
(ISSN 0191-46261 This Is issue Number 125, December 1987 (Volume Eleven), content Is © Copyright 1987 by oquinn studios, inc. All rights reserved. Reprint or 
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DECEMBER 1987 #125 

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Steady Passion 

I was a guest at the Atlanta Fantasy Fair this summer, and one of the presenta- 
tions which I hosted was called "Making Your Dreams Come True." I gave fans 
some of the guiding principles of accepting your own uniqueness, of forming 
your own goals and of bringing those goals into reality. I invited fans to share their 
dreams as well as their difficulties with the others present — so that the session could 
serve as a practical workshop. 

Several interesting problems came to light, but one of the most fascinating was 
brought up by a lady who said that she has wanted tb be a professional writer for 20 
years. Her problem is worth discussing here because it involves an issue which is, I'm 
sure, relevant to many STARLOG readers. 

1 asked the lady in Atlanta, "Why do you think it is taking so long for you to 
reach your goal? Is it that your writing skills are not yet polished or that you don't 
know how to go about selling your writing and launching a career?" 

"I'm not sure it's either of those reasons," she replied. "You see, I keep getting 
sidetracked with other problems in my life, and I lose my momentum. I always go 
back to writing, but for the last 20 years, my passion has not been steady." 

Although the lady has never been published in anything other than fanzines, I 
believe that she has conquered one of the barriers to success. She has kept her dream 
alive over a very long period of time! 

And there is a lesson in that. 
. Most people cannot do what she has done. Most people get distracted with life's 
necessities, and the motivation needed to pursue their dream fades away. Most people 
can keep plugging away only if their passion remains steady. 

1 believe that one of the most common reasons why individuals lose their motiva- 
tion toward long-range, difficult goals is that they cannot deal with unsteady passion. 
But unsteady is the way our passion is — most of the time. 

We are not always in a happy, lighthearted mood — sometimes, we get depressed. 
We are not always full of energy — sometimes, we get lazy and languid. We are not 
always in a romantic mood — sometimes, sex and love simply do not interest us. 

Our emotional states vary. We have high points and low points. We are affected by 
outside circumstances, as well as by the chemical cycles of our own physical machine. 

For instance, if you are out of work and job-hunting, it is unlikely that you will be 
bursting with enthusiasm (except, perhaps, with enthusiasm to go to the movies). If 
you are struggling with a lousy romantic relationship, it is unlikely that you will feel 
generally benevolent and self-confident (you are more likely to grab at anything which 
offers quick relief)- If you have suffered a personal tragedy, it is unlikely that you will 
be sparkling with optimism (you will probably be down on life in general, including 
your own potential and goals). 

The strength of your motivation is not constant, even at best, and at worst, it is 
strongly affected by everything else in life that touches you — including such seemingly 
impersonal affairs as local news and world events. 

For instance, when the first American set foot on the Moon, I daresay that 
everyone on the planet was lifted upward in spirit, with the feeling that anything is 
possible. But when the Challenger exploded, I think every human was plunged into a 
state of gloom and uncertainty. 

These ups and downs are to be expected. When you find yourself in a high period, 
use it for all it's worth. Throw youself into the pursuit of your dream with full en- 
thusiasm. Take advantage of the positive energy you have, while it's up. 

But when that energy wanes, and you slide down into a period of low motivation, 
of doubt and negativism — keep a firm grip on the knowledge that you are in a slump. 
You may not feel inspired, but you are still capable of feeling inspired. 

Your goal, during those dark periods, is to use every clever trick you have learned 
about your own mind and emotions in order to lift yourself up, out of the pits. 

It will be hard. You may not care. It may seem impossible. But remember that it is 
as natural to have ups and downs as it is to have summer and winter. 

Whether your passion must be nurtured over a period of 20 years — or more — you 
will never stand a chance of seeing your dreams come true unless you can weather the 
emotional seasons which everyone has to endure. 

The humans who eventually achieve eternal spring are the ones who remember, in 
the cold, bleak nights of winter, that the day is coming when ice will melt and birds 
will once again sing a hymn to the happiness that is possible in life— the happiness 
that is possible to you. 

—Kerry O'Quinn /Publisher 

peRSOH* 1 - 





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. . . Upon reading the opinions, suggestions, and 
thoughts of your readers, I feel that many of them 
are ignoring the best kind of science fiction — the 
written word. STARLOG readers claim to be SF 
fans, but they seldom have anything to say about 
literature — it's generally blab over Steven 
Spielberg, George Lucas, or how terrific "V" or 
Star Trek is. 

I'm a little fearful. After looking at a recent 
poll in Locus, I discovered that there are few new 
readers to the genre. STARLOG, I must say, isn't 
doing much to help. That's a shame, considering 
that illiteracy looms like a shadow over the written 
word. That STARLOG might be, albeit un- 
consciously, contributing to this cancer isn't good 
at all. 

So what I'm trying to do here is make a small 
conversion, so listen to me and listen good, and 
remember. There is more to wonder than 
Spielberg and Lucas. Star Trek and "V" are not 
the sum of SF. I'll repeat this as many times as I 
have to. Literary SF is real SF. So read it! Go to a 
bookstore, go to a library, and get stuff by people 
like Michael Moorcock, Harlan Ellison and Ray 
Bradbury, read J.R.R Tolkien, Samuel Delany 
and Roger Zelazny, read Robert Heinlein and all 
their ilk. This is the good stuff. And compared to 


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these, Spielberg's and Lucas' "magic" is just 
noise and light. ., 

L.P. Cook 

Dallas, TX 


. . .Glad to see your interview with Jenette "Vas- 
quez" Goldstein (STARLOG #115). I found her 
to be a fascinating character in my all-time 
favorite movie, ALIENS. She has a powerful on- 
screen presence that has obviously been noticed by 
many others in addition to myself. I've been anx- 
iously awaiting her next movie. I hope she doesn't 
completely eschew "action" genre films, but 
selects quality roles, whatever the type. Jenette 
Goldstein is a refreshingly different type of ac- 
tress. The best of luck to her in whatever she does. 

Les Handly 

Westchester, PA 

Watch for Jenette Goldstein in the supernatural 
thriller, Near Dark, which also features her 
ALIENS co-stars Lance Henriksen (STARLOG 
tt!2I) and Bill Paxton. Paxton is also the subject 
of an upcoming STARLOG interview. 

... I was very surprised to notice Jenette Gold- 
stein's face on the cover of STARLOG #115. I 
hadn't heard much about Goldstein until I read 
Brian Lowry's story about her and her role as 
Vasquez in ALIENS. Her performance as Vas- 
quez made me want to find out more about 
Jenette Goldstein. 

Justin Paul 

Clockamas, OR 


. . .ALIENS was very depressing in the fact that it 
showed how the human race is degenerating in- 
stead of broadening its horizons as a species. 

Instead of sending intelligent men into space 
with experience and morals to deal with a 
beautiful and optimistic first contact with alien 
life, we send a herd of pig-headed marines out to 
shoot up the bug-eyed slime monsters. 

First of all, the military has no damn business 
of ever making it into space. We deserve to push 
the button and blow up our own planet if we ac- 
tually reach that level of stupidity. We'll never 
evolve to the Organians' level (of Star Trek) at 
this rate. If there is any intelligence in space secret- 
ly looking over our planet and they caught a 
glimpse of that movie, they won't make contact 
with us for another thousand years until we 
mature out of the Stone Age. 

Nathan Barrett 

W. Mystic, CT 

FREE "E.T." 

. . . Steven Spielberg is a great director with many 
good ideas and a certain kind of magic that only 
he can give to his movies. As soon as "Steven 
Spielberg Presents" is heard, people rush to the 
cinema to find out what new story he has 
prepared for us. But not everyone has the 
privilege to actually go and share the magic. 
That's why we have our videos waiting for us at 
home, right? 

Spielberg's most-talked-about work, 
E.T. — The Extraterrestrial, hasn't yet seen the 

light of video, and that's because Spielberg 
himself believes that it should be seen in a big 
theater with many people in order for an audience 
to experience maximum impact. It seems that 
Spielberg doesn't know about the many elderly 
people who would enjoy E. T. in a retirement 
home or in their own houses as much as they 
would in a cinema full of people. Or maybe the 
big family that doesn't have the time, or the 
money, to enjoy sitting in a theater. 

I'm only 16 and 1 love E. T. It should be releas- 
ed on video for all the right reasons: It makes you 
cry, laugh, get on the edge of your seat and cheer 
when the time is right. Well, the time is now, 
Steven Spielberg. Think of all the people who'll be 
pleased — they are a far much bigger crowd than 
the ones you could get to fill the cinema. And 
keep up the good work. 

Carlos 1. Cuevas 

Rio Piedras, Puerto Rico 


... I was horribly shocked to read the coverline 
on STARLOG #115: "John Carpenter, Goodbye 
to Hollywood?" 

After reading Steve Swires' interview, I felt 
sorry for my favorite writer/director. A true artist 
like Carpenter should get much more credit than 
he currently receives. It's not fair for dumb film 
critics to boo and hiss at the films Carpenter has 
spent so much imagination and time creating. I'll 
be cheering for his next movie. Even if it's not a 
smash hit with the critics, it will be with me. I'll 
always be a loyal fan to John Carpenter's great 

Mark Brown 

Seattle, WA 

. . . John Carpenter is one of the most talented 
directors in filmmaking today. I think his work is 
very good and I always go to his movies. I under- 
stand how he must feel when he releases a movie 
and it gets trashed. You feel that you work very 
hard on something and people who have nothing 
to do with it throw a wrench into the machinery. 
My family and I enjoyed Big Trouble in Little 
China and we want to buy a copy on video. 
Hollywood would be much less magical without 
John Carpenter. Look at it this way — at least he 
didn't make Howard the Duck. 

Parrish Turner 

Staten Island, NY 

. . . John Carpenter never cheats his audience. He 
always gives them something new and refreshing. 
It is true that his recent big-budget movies have 
been compromises, but they have been good 

ST AKLOG/ December 1987 


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entertainment anyway. Carpenter's name on a 
movie guarantees quality and breathtaking excite- 
ment. Though he has always been kind to 
Hollywood; they have not often rewarded his in- 
genious skills. The film business cannot afford to 
lose this most original filmmaker. 

Juhani Nurmi 

Vaskitie 6 B 21 

SF-90 250 Oulo 25 


There 's good news for John Carpenter fans: the 
filmmaker's own reports of his early retirement 
were greatly exaggerated (see page 12). 


... I must point out an obvious mistake in 
STARLOG #115's Fan Network: the statement 
that "the Kasimar chapter has been awarded 
command over Nova Scotia, New Brunswick, 
Prince Edward Island and Newfoundland, by 
Starfleet decree. This furthers the Kasimar's claim 
to a truly international crew, which to this point 
had only Americans and Canadians." Americans 
truly are ignorant of Canadian geography. For 
your information, Nova Scotia, New Brunswick, 
Prince Edward Island and Newfoundland are 
provinces of Canada, so the Kasimar still has a 
crew of only Americans and Canadians. Next 
time, check your atlas. 

Penny Highfield 

Winnipeg, Manitoba, Canada 


. . . Paul Darrow (STARLOG #1 16) is one of the 
funniest convention guests I've ever seen (he and 
Michael Keating together have audiences on the 
floor). That article was wonderful. The pictures 
were spectacular, especially the one of the five 
Blake's 7 members on the first page. I don't recall 
seeing those costumes on the show — it was dif- 
ferent to see Avon without studs on his black 

The fact that Avon is flawed, grey and human 
makes him my favorite. Avon thought of Avon 
first, always, even when it came down to himself 
or the woman who had loved and betrayed him. 
He wasn't "white" like Blake, but he wasn't 
"black" like Travis, either. He cared about his 
crew (although poor Vila almost paid the price in 
"Orbit."); he enjoyed the fact that Slave called 
him master. There is a bit of Avon in everyone. If 
I had a choice, I would follow Kerr Avon — not 
Roj Blake. 

Melissa Posten 

Deptford, NJ 

. . . The chemistry between Avon and Vila is 
something special, and reminds me of the rela- 
tionship between Kirk and Spock. Their friend- 
ship is not as obvious — you must know the 
characters' personalities to even see it — but it is 
one of the reasons we love this show so well. 

Mary C. Arens 

St. Louis, MO 

... I was delighted by the insightful article on that 
sparkling personality and fine actor Paul Darrow. 
Keep those Blake's 7 stories coming, Jean Airey 
and Laurie Haldeman. It's great to see Blake's 7 
and those concerned with the show receiving the 
attention they so richly deserve. 

Diana Dougherty 

Campbell, CA 

There'll be more Blake's 7 interviews from the 

Airey-Haldeman team in upcoming STARLOGs. 
A nd by the way, fan mail can be sent to Paul Dar- 
row through his agent, Roger Carey, Apt. I, 438 
Fulham Road, London SW6. There's also Avon, 
the Paul Darrow Society who can be contacted 
through Joanne Stone, 7 Little Falls Way, Scotch 
Plains, NJ 07076. 


... Hi! I am writing to say how much I enjoyed 
your article on Grace Lee Whitney in STARLOG 
#1 16. I am a regular subscriber of this magazine, 
and look forward to it regularly. 

1 enjoyed reading the views of Grace Lee 
Whitney and what she has been doing since Star 
Trek: The Motion Picture. I will look forward to 
more articles such as these. 

Page Lewis 


Grace Lee Whitney Fan Club 

261 1 Silverside Road 

Wilmington, DE 19810 

. . . Regarding the interview with Robin Curtis in 
issue #1 16: 1 don't feel Saavik's pregnancy should 
be pursued in Star Trek V. It would be better to 
drop the matter altogether and get on with brand 
new adventures, without events from past films 
interfering. Frankly, what can you do with such a 
story development without turning Star Trek into 
As the World Turns! They certainly don't allow 
infants on starships or pregnant officers, for that 
matter. I still can't believe Saavik didn't practice 
some form of birth control, which would be man- 
datory aboard a 23rd century starship. Of course, 
if they want to pursue this storyline and leave 
Saavik on Vulcan permanently, that's fine with 
me. Since Curtis took over the role, Saavik has 
become boring and one-dimensional. She does 
not have the mannerisms, style or passion of 
Kirstie Alley. 

As for David being the father, Saavik's affair 
with him was only in the novel of Star Trek III. 
It's my belief that if something didn't happen on 
screen, it didn't happen at all. 

Deena Brooks 

Renton, WA 

. . . When I read Majel Barrett's interview 
(STARLOG #116), I still wondered why she 
wasn't in Star Trek II or ///. I was glad to see her 
in Star Trek IV, but I wish she had a bigger part in 
the movie. Like she said, she was one of the main 
eight characters in the Star Trek TV series, but 
only seven of them have been in the movies and 
she got lost somewhere. I hope that in Star Trek 
V, Dr. Chapel and Yeoman Rand will be back on 
the Enterprise and have parts at least as large as 
they did in Star Trek: The Motion Picture. Chapel 
is in the cartoons and the novels, so why not the 

Curtis Gibbens 

Springfield, VA 

...The fine articles in STARLOG are well- 
written and very informative. However, I must 
strongly object to the headlines found on the 
cover of the magazine. Headlines such as "Robin 
Curtis: 'I want Saavik to bear Spock's child' " 
and "Grace Lee Whitney: 'I've been restored to 
the family' " (STARLOG #116) sound like lines 
found in a tabloid such as the National Enquirer. 
If this is your method of attracting the reader's at- 
tention, then I am deeply disappointed. 

Cindy Lee 

Irvine, CA 




After a while, writers do run out of titles 
for reports on the newest game in 
Hollywood: reviving recently killed TV an- 

Ray Bradbury Theater, The Twilight Zone 
and Alfred Hitchcock Presents— -all tossed 
on the boneyard in the last 18 months — are 
being happily brought back to TV life, thanks 
to cheaper filming production costs in venues 
far outside Hollywood. 

Hitchcock, the first to be cancelled in 1 986, 
was almost immediately revived by the USA 
Network paycable service which greenlighted 
new episodes to be produced in Canada. Due 
to the strong ratings notched by those 
segments, USA has just ordered 41 more 
(also to be produced in Canada). Thus, the 
total number of color Alfred Hitchcock 
Presents (the four derived from the TV movie 
pilot, the NBC run, the two USA seasons) is 
circa 93. 

Quite satisfied with its Hitchcock commit- 
ment, USA Network has turned to another 
genre master, Ray Bradbury. USA will be the 


It's based on the first non-genre book by 

noted British SF writer J.G. Ballard. It's the 

first film in two years from acclaimed director Steven Spielberg. It's Empire of the 

Sun, a story of World War II Shanghai told through the eyes of a child (Christian Bale, 

left). John Malkovich (pictured, with Spielberg), Miranda Richardson, Nigel Havers and 

Joe Pantoliano star in the December release. 



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new home for the Ray Bradbury Theater, the 
short-lived series of Bradbury's tales which 
appeared in six installments during 1985 and 
1986 on HBO (STARLOG #104). Bradbury, 
who hosted as well as scripting the adapta- 
tions, had prepared 12 treatments for another 
flight of episodes. Apparently, HBO passed 
on that continuation, giving USA the chance 
to pick up a dozen Bradbury tales. They'll be 
lensed in Canada, England and France. 

In the meantime, as noted last issue, The 
Twilight Zone revival is being reactivated for 
first-run syndication with 30 new episodes to 
be produced to add to the CBS stockpile. 
Laurel Entertainment, which has wrapped its 
first-run production of Tales from the 
Darkside segments, is contemplating a Tales 
From the Darkside: The Movie. And Amaz- 
ing Stories is amazing audiences overseas. A 
compilation film, featuring Steven 
Spielberg's "The Mission," Robert 
Zemeckis' "Go to the Head of the Class" and 
Bill Dear's "Mummy Daddy," has been very 
successful in France and elsewhere. 

Updates: After the pilot but before the 
series, Jeff Lester replaced Jim Turner as the 
courageous Captain Justice in Once a Hero. 

Earth*Star Voyager, the Disney-produced 
SF mini-series (STARLOG #122, 124), has re- 
scheduled its launch. Tentatively slated for 
airing this month, it's now targeted for early 
January on the Disney Sunday Movie. 

Targeted start date for Star Trek V is 
January-February. William Shatner directs. 
Though still unconfirmed by studio sources, 
David (Dreamscape) Loughery (STARLOG 
#88) is apparently scripting. 

Of course, it was DeForest Kelley who was 
scheduled to cameo as a much older Dr. 
Leonard McCoy in the "Encounter at Far- 
point" premiere of Star Trek: The Next 

Dorothy Fontana (STARLOG #118), at 
presstime, had announced her departure 
from the Star Trek: The Next Generation 
staff. She was scheduled to leave in early Oc- 
tober and was deciding which of several other 
offers to accept. 

Evil Dead's Sam Raimi, slated to direct 
The Fly II, has left the project. No replace- 
ment has yet been named, but then Raimi 
wasn't ever officially announced to direct it 
either. One possible title: The Fly II: The In- 
sect A wakens. And by the way, Geena Davis 
(STARLOG #1 10) is slated to return in this 

Sequels: You want sequels, you're getting 
them. SF cyberpunk novelist William Gib- 
son, whose Neuromancer is being developed 
for film, will script the still unannounced 

The paint is barely dry on House II: The 
Second Story, but producer Sean Cun- 
ningham (FANGORIA #6) is already plann- 
ing House III. Allyn Warner is working on ar- 
chitectural plans (i.e. a script). Construction 
(OK, filming) could begin sometime before 
year's end, though House IPs somewhat light 
box-office reception may create some 
building delays. 

Comics: Fresh off the success of The Big 

Easy, writer/director Jim McBride has team- 
ed with his old Breathless collaborator, writer 
L.M. Kit Carson (FANGORIA #58), to 
script Elektra: Assassin. It's based on the 
Marvel Comics character created by Frank 
Miller to battle and bed Daredevil. 

Four-color heroes are also making a 
graphic assault on TV. ABC has ordered six 
episodes of Jon Sable, based on the First 
Comics title Jon Sable, Freelance created by 
Mike Grell (COMICS SCENE series 2, #1). 
Gary (Wanted Dead or Alive) Sherman 
wrote, produced and directed the pilot. Lewis 

van Bergen stars as Sable with Rene Russo 
and Ken Page co-starring. A mid-season 
debut is expected. 

Fantasy Films: Future Tense is the latest 
Gale Anne Hurd (STARLOG #107) produc- 
tion, now in the works at 20th Century Fox. 
Stan Winston (FANGORIA #69) is again in 
charge of special makeup FX. Twilight Zone 
veteran Rockne O'Bannon (STARLOG 
#106) penned the original screenplay. Film- 
maker James Cameron, the man behind 
ALIENS (see page 34), is also involved, 
though, as of yet, there has been no official 


The most realistic cinematic re-creation 
of the world of the dinosaurs ever 
achieved — plus an innovative storyline — is 
the aim of London-based producer Stephen 

Combining his childhood fascination for 
dinosaurs with 15 years' experience in TV and 
film production, Bankler-Jukes has scripted 
and will direct a $22 million feature, 
Dinosaur — The Film. 

Aiming for a more realistic look than 
previous dinosaur movies, Bankler-Jukes, 
who promises "no stop-motion animation," 
has already begun assembling one of the 
largest animatronics teams ever. They will be 
using the animatronics techniques — a com- 
bination of cable control, puppetry and radio 
control (often computerized) — which have 
brought to life such memorable movie 
creatures as Audrey II in Little Shop of Hor- 
rors, Yoda in Return of the Jedi, the denizens 
of Labyrinth and the ALIENS. 

The team, headed by Christian Ostwald, 
will construct approximately 60 dinosaurs. 
Ostwald, one of the chief mechanical 
engineers for Little Shop of Horrors, is also a 
veteran of Greystoke, Labyrinth and The 
Dark Crystal. Further expertise on this 
marathon of technical moviemaking will be 




is preparing 

a trip to the 



provided by special effects supervisor Derek 
Meddings (STARLOG #83) and co-producer 
Bob Simmonds, both of whom have worked 
on the Superman movies and Santa Claus. 

But Dinosaur will not just be a technically 
proficient visual resurrection of the long- 
extinct creatures and their habitat. "One of 
the main points about this film is that it will 
feature a hero who isn't human and non- 
human dialogue," Bankler-Jukes says. "The 
lead character is a stenonychosaurus — that 
means 'delicate narrow claw.' So, our hero is 
about seven feet long, two-legged, with large 
forward-mounted eyes, delicate and dextrous 
hands, and the largest brain (for body weight) 
of any of the dinosaurs. The stenonychosaur- 
us also almost certainly gave birth to live 
young. It was to the world of dinosaurs what 
early man, some 68 million years later, must 
have been to the world of mammals." 

For Bankler-Jukes, whose past screen pro- 
ductions have mainly been large scale, 
historically accurate dramas (such as the re- 
cent Jamaica Inn), Dinosaur represents the 
first time his work has crossed over into his 
personal hobby. "I've had a lifelong interest 
in archaeology and paleontology [respective- 
ly, the studies of human relics, and of 

Urruk, a male stenonychosaurus, will star 
in Dinosaur— The Film. 

10 SI ARLOG/ December 1987 

announcement of director or final screen- 
writing credit. James (Rollerball) Caan and 
Mandy (Princess Bride) Patinkin will star. 

Animation: It's not a dream. Really. Back 
in the animation races after a career hiatus to 
concentrate on painting, Ralph Bakshi has 
acquired the rights to a recent SF classic. 
Bakshi is developing an animated version of 
Blade Runner, aimed at a primetime TV slot. 
This projected Blade Runner would combine 
animated characters with some live-action 
background elements. 

By the way, you'll be happy to note this 

reminder of things past. Perhaps it's due to 
• the wide-screen popularity of such venerable 
TV-spawned theatrical features as The Un- 
touchables, Dragnet and, of course, Star 
Trek. Or maybe it's the startling success of 
the "fish-out-of-water" type movie as per- 
sonified by Crocodile Dundee. Either way, 
Warner Bros. & series creator Paul Henning 
are revving up a theatrical version of what 
some might consider an American classic. 

Yes, The Beverly Hillbillies. 

Y'all come back now, y' hear. 

— David McDonnell 

fossils]," he explains. "Five years ago, on 
Portland, a small island off England's south 
coast, I discovered a plesiosaur — an aquatic 
cousin of the dinosaur. I've since donated it 

A baby triceratops will be the hero's 
sidekick in Dinosaur— The Film. 

to the Natural History Museum in London, 
and I've collaborated very closely with them 
on research. 

"The last 10 years have revolutionized our 
knowledge of dinosaurs, and five years ago, 
this film couldn 't have been made because the 
animatronics techniques weren't there." 

With a summer '88 release tentatively plan- 
ned, lensing of Dinosaur — which will take 
place almost entirely on location in the 
Canary Islands and the Seychelles, with only 
two weeks of studio shooting— is scheduled 
for the year's end. Having recently completed 
test footage of a prototype tyrannosaurus 
rex, Stephen Bankler-Jukes is eager to begin 
production. "This is the first time the real 
story of the dinosaurs will be told on film," 
he promises. 

— Adam Pirani 




A small band of Earthlings (Dennis Bout- 
sikaris, Hume Cronyn, Jessica Tandy & 
Elizabeth Pena) have a close encounter 
with some friendly extraterrestrial 
strangers in Batteries Not Included, open- 
ing next month. Matthew Robbins directed 
the Universal/Amblin Entertainment pro- 
duction which reflects filmmaker Steven 
Spielberg's continuing "optimism for the 


8 8 

TM & (C) Lucasfilm Ltd. 1983 
All Rights Reserved. 



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Twentieth Century-Fox 

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Through the trials 

and tortures of Tinseltown, 

the "Starman" director negotiates 

an independent route to 

true happiness. 

In the high-stakes, low-aspiration world 
of the New Hollywood — where the 
"blockbuster" mentality rules most 
decision-making, and the art of negotiating 
is more prized than the art of filmmak- 
ing — commercial failure is the ultimate 
betrayal. But unprecedented success can be 
equally intimidating — an irresistible seduc- 
tion nearly impossible to survive. 

Almost imperceptibly at first, an acclaim- 
ed director's goals begin to change. As his 

professional expectations are raised, his per- 
sonal values are reduced. Compromise 
becomes a way of life. Style and substance 
are easily sacrificed in quest of financial 

Few filmmakers are able to honestly 
evaluate such an unsatisfying career situa- 
tion. Fewer still are able to change it. But 
John Carpenter has found a way. 

"I've finally figured out who I am as a 
filmmaker," he declares. "At one time, I 


thought 1 wanted to be a big budget, major 
studio Hollywood director. Now, I realize 
that I don 7. There is no way. I can't do it. I 
hate authority too much. 

"After making four big-budget, major 
studio Hollywood films — The Thing 

Happily accepting the freedom that comes 
with an independent feature, Carpenter 
aids his old comrades Victor Wong and 
Donald Pleasance against the evil forces 
of the Prince of Darkness. 

[STARLOG #60], Christine, Siarman 
[STARLOG #92] and Big Trouble in Little 
China [STARLOG #109]— I was burned 
out. The grind of production, the dishonesty 
at the studios, and the corruption involved 
in the advertising, the publicity and the press 
made me wart to quit. 

"When you make a big-budget film, you 
get trapped into so many situations that you 
don't want to be in. You're making a movie 
with the studio's money, and they'll spend it 
the way they want. Suddenly, there are 
motor homes lined up, and everybody is on 
the bandwagon — and you find yourself 
there, too. You think: 'How can 1 stop 
this?' Well, 1 stopped it. 1 got out. I had 

Preferring the personal commitment of 
independent production, Carpenter has 
returned to his roots, signing an innovative 
four-picture deal with Alive Films. Best 
known for such offbeat screen fare as Alan 
Rudolph's eccentric Choose Me and Trou- 
ble in Mind, Lindsay Anderson's The 
Whales of August and Hector Babenco's 
box office hit Kiss of the Spider Woman, 
Alive secured Carpenter's services with an 
enviable offer of complete creative con- 
trol — an autonomous arrangement he last 
enjoyed with Escape From New York 
(STARLOG #41, 48) in 1981. 

how to Escape 

Commencing with his new science- fic- 
tion/horror movie Prince of Darkness (see 
FANGORIA #69 for Carpenter's detailed 
discussion of this project, now in release), 
Carpenter will deliver all four modestly 
budgeted films within a five-year period, for 
domestic theatrical distribution by Universal 
Pictures, and subsequent video release via 
MCA Home Video. By shrewdly pre-selling 
the domestic and foreign theatrical, video 
and cable TV rights, Alive will make a profit 
on each picture before shooting even begins. 

"This could be the wave of the future," 
the 39-year-old director muses, relaxing in 
the Los Angeles office of his evocatively 
named new company, Haunted Machine 
Productions. "If firms like Alive can find 
filmmakers who will be responsible to their 
budget, they'll give them the freedom to 
create, and get a finished film in return. If it 
works, it'll be great. If it doesn't, then that's 
too bad. But for the budgets at which I'm 
doing these movies, no one will get hurt." 

Wounded by Big Trouble's unexpected 
critical and commercial clobbering, 
Carpenter retreated to a well-deserved hiatus 
(STARLOG #115), recharging his intellec- 
tual energy by pursuing a growing interest in 
quantum physics. Weary of the internecine 
strategies necessary to navigate through 
studio politics, he was lured out of his 
voluntary exile by a telephone call from his 
old friend Charles Band, head of Empire 
Pictures (FANGORIA #55-56). 

"Charlie is a tremendous entrepreneur, 
and loves movies," he marvels. "In fact, I 
edited his first film, The Last Foxtrot in 
Burbank. We visited and renewed our ac- 
quaintanceship. He asked me if I would ex- 
ecutive produce some pictures for him. The 

Lee Van Cleef learns that it isn't wise to cross Snake Plissken (Russell)- Perhaps 
some studio executives should take heed. 

most appealing thing he said was: 'You can 
choose whatever you want to do.' Then, he 
told me how he makes his deals work, and 
how Empire survives very inexpensively. 

"That got me all excited about doing in- 
dependent projects again. I began to 
remember the old days, before I got into the 
studio system, and how much fun it was to 
make movies under those conditions. 1 
didn't particularly want to do Charlie's deal, 
but I started thinking about going back to 
work. 1 had changed agents by then, so I 
told my new agent that I would like to ex- 
plore independent filmmaking. I decided to 
see what might be available. I came up with 
a situation which is unique in Hollywood." 

Indeed, so complete is Carpenter's con- 
trol over his four-picture package, that Alive 
Films is allowed virtually no creative input 
whatsoever. "They don't even get to read 
the scripts before approving the deals," he 
notes. "I only submit basic concepts to 
them, in a short paragraph. For Prince of 
Darkness, for example, it was something 
like: 'The Devil is buried under a Los 
Angeles church, and graduate science 
students come to fight him.' If they approve 
the concept, then I deliver them a print. I 
can't ask for more than that." 

Joining forces once more with his 
longtime associate Larry (Big Trouble) 
Franco as producer of all four films, 
Carpenter will remain faithful to his 

preference for science fiction, fantasy and 
horror themes. His next two movies will be 
They Live, from his own screenplay, and 
Victory Out of Time, written by his regular 
script supervisor Sandy King. Although he 
has yet to decide their order of production, 
he expects shooting to begin by year's end. 

"They Live is a science -fiction thriller," 
he reveals. "It's what I originally wanted to 
do with my script Eyes, before it got turned 
into another film, The Eyes of Laura Mars. 
Victory Out of Time is an action picture. It's 
from a study about how time travel would 
be possible, and what it might be like. 

"I'm not certain what my fourth movie 
will be. I have several options, but I haven't 
submitted my list yet. It may be another of 
my own scripts. I've also been working on a 
story idea about quantum physics, but I 
don't quite know how to get it on screen. 
It's impossible to describe, unless you 
understand the scientific principles involved. 
I'm discussing it with Dennis Etchison 
[FANGORIA #52]. He's a very talented 
writer, and may give it a shot. If I can ever 
figure out how to do it, the film would be 

Permitted to make one big-budget, major 
studio movie outside the parameters of his 

respondent, profiled Burt Ward in issue 


STARLOG/December 1987 13 

Enjoying their Escape From New York, both Carpenter and Kurt Russell (as Snake 
Plissken) are eager to Escape From LA. 

Alive Films arrangement, Carpenter has 
entered into a development deal with the De 
Laurentiis Entertainment Group for Escape 
From L.A., his long-awaited sequel to the 
science fiction/high adventure saga Escape 
From New York. If all goes well, leading 
man Kurt (Big Trouble) Russell (STARLOG 
#49, 63, 108) will reprise his role of futuristic 
outlaw Snake Plissken. 

"When Dino De Laurentiis bought Em- 
bassy Pictures, he inherited the rights to 
Escape From New York," Carpenter ex- 
plains. "After Big Trouble opened, Kurt 
and I were flying back from New York 

together, and he said: "I really love Snake 
Plissken. I would like to make another pic- 
ture about him before 1 get too old.' So, we 
came up with a story. If the script works 
out, maybe I'll direct it." 

Preoccupied with his Alive projects, 
Carpenter has chosen Coleman (The 
Equalizer) Luck to write the Escape From 
L.A. screenplay. "Coleman is a very nice 
guy," he says. "He was one of several 
writers I considered. We started talking, and 
I liked the way he thinks. He had an idea for 
a film that was a little bit like another movie 
I planned to do, so I said: 'Instead of that 

film, would you be interested in Escape 
From L.A.V 

"Unfortunately, Dino is having serious 
money problems right now. He is restructur- 
ing his financing, and I don't know what 
will happen. Also, Escape From L.A. would 
be a big picture. I'm getting to be an old 
man, so I'm not sure if I could stand the 

Resisting the enticements of industry 
power brokers, Carpenter still reserves a 
special affection for Dino De Laurentiis. 
"Personally, Dino is a very wonderful 
man," Carpenter remarks. "He can be the 
most charming man on the face of the 
Earth. He loves seeing you. He's like your 
father. He hugs and kisses you, and takes 
you to dinner. He gets excited, and has big 
ideas. 'John, we make-a movie,' he tells me. 
Frankly, it's hard to say no to Dino." 

How Not to Sequel 

Redefining his professional priorities in 
the wake of his new production situation, 
Carpenter has cleared his schedule of several 
pending projects, in which his interest had 
long since waned. To his great relief, he will 
no longer be associated with the often- 
rumored Halloween IV, for which he had 

14 STARLOG/December 1987 

it to me. So, we've put out some bids, and 
now somebody else can make Halloween 
IV. The truth is: They'll do a better job than 
1 would. They'll get a young director who's 
real flashy, and who loves teenage horror 
pictures, and he'll do a fine job.,1 don't need 
to do that any more." 

Briefly intrigued by the possibility of a TV 
movie sequel to The Fog, to be written by 
Dennis Etchison, Carpenter has also cancel- 
led those plans. "I don't want to do TV," 
he states. "It was the same as the Can- 
non/ Halloween IV situation. Once I start 
taking it seriously, 1 have to go to meetings 
with these people. They keep telling me how 
much money 1 can make. They say: 'AH you 
have to do is go to Beverly Hills and talk to 
this person, and you can make this huge 
amount of money.' Naturally, I thought 
about it. 

"I went pretty far with the project, but 1 
reached the point where my heart really 

Rocker Alice Cooper was nabbed for a 

cameo role as "a crazed, psychotic street 

person" in Prince of Darkness after 

Carpenter met him at Wrestlemania III. 

Though he cites Hollywood's handling of 

Big Trouble in Little China as his reason 

for leaving major studio filmmaking, 

Carpenter likes working with its 

stars— Kurt Russell & Dennis Dun— with 

Donald Li (in background). 

been approached by the Cannon Group. 

"My Halloween days have come to a hap- 
py end," Carpenter announces. "My part- 
ners and I are selling the sequel rights to 
someone else. Halloween will finally be off 
my back forever, and we're all very 

"I'm partnered on Halloween with Debra 
Hill, Irwin Yablans and Moustapha Akkad. 
It's illegal for me to hold up the property as 
a business enterprise. I can't deny them the 
right to make money on Halloween, even 
though I don't want to be involved 
anymore. So, I'm trapped. I would 
vacillate, and say: 'If there is going to be 
another Halloween, then it should be a good 
film.' But every time we started to work on 
one, I got fatigued because I don't want to 
do that again. 

"I had a brief go around with Cannon, 
during the time that I had become cynical 
about the business. I decided I don't want to 
make a movie with them. It just isn't worth 

wasn't in it. I was in a meeting with one of 
the network heads, and I started discussing 
television as being furniture that talks to 
you. I realized that I was putting TV down 
because I didn't want to do it. I was slitting 
my own throat. So, I just let it drop." 

Wary of the exhausting speed of TV pro- 
duction, Caigjenter also turned down a 
lucrative network offer to supervise a horror 
anthology series, for the 1987/1988 broad- 
cast season. "ABC said they would commit 
to one hour every week, for whatever I 
wanted to do," he discloses. "But, it 
doesn't mean anything to me. Who wants to 
produce TV? It's brain damage time, man. 
It's tough] You have to come up with a new 
story every week. I don't want to work that 

An avid helicopter pilot, Carpenter in- 
itially relished the opportunity to write and 
direct Chickenhawk, a drama based on a 
non-fiction book about helicopter pilots in 
the Vietnam War, for New World Pictures, 
but has now lost his enthusiasm for the pro- 
ject. "I'm going to let my option on the 
book expire," he reports. "I have another 

Although he fondly remembers the artistic 

control he extended over The Fog, which 

starred Jamie Lee Curtis and John 

Houseman, Carpenter has allowed plans 

for a TV sequel evaporate. 

idea, which is better. There have already 
been several very good Vietnam films, so the 
market is becoming saturated. 1 don't think 
New World really wants to shoot my script 
anyway. It's a serious piece of work, and 
they're not interested in that kind of film. 
They only want exploitation movies." 

How to Succeed 

Once a struggling screenwriter for hire, 
Carpenter supplemented his income by 
scripting several commercially viable ex- 
ploitation movies, most of which have re- 
mained in limbo. However, to his surprise, 
one of fiis earliest freelance assignments, the 
horror thriller Diamondback, based on the 
novel Fangs, has again been announced for 
independent production. 

"I had finished making Assault on 
Precinct 13 and was writing scripts for 
money," he recalls. "These producers — one 
of whom was Jere Henshaw, who was at 
Universal — wanted to do a kind of Jaws, ex- 
cept with rattlesnakes. The idea was that 
hundreds of thousands of rattlesnakes had 
been unearthed in a suburban development 
area. So, I write this fun screenplay, and felt 
1 did a good job with it. 

"It was never made, but it keeps coming 
back. The producers paid me for my work, 
and I didn't have any further involvement 
with it. But my name is on the script as the 
writer, so naturally they're going to use me 
to their best advantage. They've had the 
script rewritten several times. I don't know 
what it's like anymore. They've probably 
just kept the basic structure, and rewritten 
all the characters. I'm sure they've updated 
it and added more teenagers." 

Ironically, Carpenter was similarly em- 
barrassed last year, when New World's 
release of Black Moon Rising — based on his 
decade-old script — capitalized on his by- 
then-tenuous contribution. "My name was 
on a script, and suddenly it was: 'From the 
mind of John Carpenter,' " he laments. 
"Well, wait a minute. That wasn't even my 
story. My story was about Vietnam veterans 
who grab their guns and blow the hell out of 
people. It wasn't what that movie was." 

Dismayed by such confusing labeling, 
even a battle-scarred veteran like Carpenter 
was shocked by the scathing dismissal of his 
lavish martial arts adventure fantasy, Big 
Trouble in Little China. "I had a blast mak- 
ing that film," he comments. "But there 
were strong reasons why it didn't do as well 
(continued on page 69) 



Joth Cocoon and Return of the Jedi 
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If you've ever been up at 3 a.m., watch- 
ing some movie with John Agar and a 
rubber monster that's interrupted every 
10 minutes by used car commercials, con- 
gratulations: you represent the target au- 
dience for Amazon Women on the Moon. 
Well, at least to a point. Despite the title, 
which does refer to a spoof of '50s space 
movies, Amazon Women is really a comedy 
anthology that features a spate of vignettes 
by five different directors— all produced by 

Hail to the Queen of Outer Space (Sybil 
Danning, reclining) as she studies her lines 
with heroic Steve Forrest (Forrest). 

It's Destination: Moon (or some place like 
it) for intrepid travelers Steve Forrest, Joey 
Travolta and Robert Colbert— not to men- 
tion underwear-clad Lou Jacobi. 

John Landis and Robert K. Weiss, the latter 
with credits including Kentucky Fried 
Movie, The Blues Brothers (both directed by 
Landis), Dragnet and the short-lived TV 
series Police Squad. 

Weiss, who was sitting in his own living 
room somewhere watching those very same 
awful movies in the wee hours of the morn- 
ing, makes his directorial debut as one of the 
helmsmen on Amazon Women, including 
the title segment. Other insomniatic fans- 
turned-filmmakers who've joined him in the 
enterprise include Landis (FANGORIA 
#21), Joe Dante (STARLOG #121), Jaws 
scribe Carl Gottlieb and actor Peter Horton. 

Still, don't shoot Weiss for the somewhat 
misleading title. "The title was Joe's idea," 
Weiss adds with a chuckle. "Be sure to men- 
tion that." 

Sitting in his Universal City office, adorn- 
ed with paraphernalia from his former films 
as well as such SF regalia as the one-sheet 
from Queen of Outer Space, Weiss says he 
and Landis felt "the time is right for this 
kind of picture," adding, "There's no con- 
necting story. The only thing holding it 
together is the price of admission." 

It is a form that has been on hiatus from 
the big screen, Weiss admits, almost since 
The Groove Tube and Kentucky Fried 
Movie grossed us out and set the standard. 

In part, Weiss contends, that's because 
more accessible media quickly emulated the 
irreverence embodied in those films, as 

Saturday Night Live and cable television 
began giving movies a run for their money in 
terms of good old-fashioned tasteless satire. 
"Before that, you really couldn't see that 
kind of material anywhere else," Weiss says. 

The segments are wildly different, ranging 
from broad farce to black comedy. One 
piece matches Steve (Cocoon) Guttenberg 
(STARLOG #98) and Rosanna (Silverado) 
Arquette on a hi-tech blind date, while a Joe 
Dante segment, "Bullshit or Not," spoofs 
the In Search Of. . . format, exploring 
whether Jack the Ripper was really the Loch 
Ness monster. 

Another Weiss vignette is called "Titan 
Man," as a callow youth stops by a 
drugstore to buy a much-needed dating ac- 
cessory and ends up the recipient of 
unwelcome fanfare as the purchaser of the 
one billionth Titan prophylactic. 

In the horror vein, too, there's Gottlieb's 
"Son of the Invisible Man," shot in black 
and white and starring Ed (St. Elsewhere) 
Begley Jr. "As you remember, the big curse 
of the invisibility formula was that it makes 
you crazy," Weiss explains. "Well, this guy 
has gotten to the point where he thinks he's 
invisible when, in fact, he's not. He's run- 
ning around stark naked, convinced no one 
can see him." 

Moon Maidens 

Nearest and dearest to the hearts of SF 
fans, however, should be "Amazon Women 
on the Moon," which seeks to re-create 
those beloved, late-night viewing experiences 
of Weiss' youth. 

According to the producer/director, "It's 
like watching a movie on late-night TV: The 
print is cut to pieces, there are giant chunks 
of action missing, you come back from the 
commercial and it's two reels later. It's sup- 
posedly presented without commercial inter- 
ruptions, and it's interrupted all the time." 

While the influences include Forbidden 
Planet (all the way down to the crew's 
costumes), "To me, if I had to name a 
movie [on which it's based], it would be 
Queen of Outer Space, with Zsa Zsa 
Gabor," Weiss says. "That's really its 
spiritual mentor, but it's a distillation of 
many things." 

Toward that end, Weiss assembled a cast 
that includes Sybil Danning (STARLOG 
#76) as "Queen Lara," Steve (SWA T) For- 
rest (who had never done an SF film) and 
Robert Colbert, a TV veteran of Time Tun- 
nel. There's also Joey Travolta as 
"Sparks," the classic Brooklyn radio man 
who "didn't want to make the trip" and 
who has a pet monkey. 

Danning seemed particularly suited to her 
role, in more ways than one. "She's a B 
movie queen, playing a B movie queen, who 
is the queen of another planet," Weiss 
notes. "It was great. She got into it. 

"Her wardrobe was very flattering. 
Royalty on other planets seem to be com- 
pelled to wear capri pants and high heels, 

BRIAN LO WRY, veteran STARLOG cor- 
respondent, reports for the LA bureau of 
The Hollywood Reporter. He profiled Jeff 
Boam in STARLOG §123. 

STARLOG/December 1987 19 

Y F fi »* , 

In Weiss' "Titan Man" sequence, the next 
voice you hear is Ralph Bellamy, the 
friendly neighborhood druggist. 

and we're just following a science-fiction 

Indeed, tradition played heavily in craft- 
ing the segment, as Weiss and Dante sat 
through countless old SF films all over 
again. "It was a task I very willingly did," 
Weiss says. 

Like the fondness for Plan 9 From Outer 
Space and other Golden Turkey side dishes, 
Weiss understands the fascination many 
buffs have with bad movies, much like Dan 
Aykroyd's "Bad Playhouse" on Saturday 
Night Live. "In one sense, it became its own 
art form," Weiss remarks. "It's Jike jiffy 
filmmaking, since many of these pictures 
were done in no time at all: 'We're on the 
Moon. OK, it's a park, we know there are 
trees back there, it's fine.' 

"They were bad in a very special, very 
entertaining way. It's because the people 
who made those pictures were earnest about 
what they were doing. They were trying. 

"If you have the actors winking, that 
ruins it. The straighter you play it, the fun- 
nier it will be when you pull the rug out. 
That's a formula that I worked out when I 
worked on Kentucky Fried Movie and 
Police Squad," Weiss adds. 

"The thing you have to watch out for is 
that the thing you're parodying is so 
outrageous that you really must be careful. 
Otherwise, it's a joke on a joke, a double 
negative, and it starts to cancel itself out. 
We had to find a tone for the piece where we 
could pull it off." 

In addition, the producers didn't want to 
use an elephant gun to kill a rabbit, since a 
big-budget spectacular would undoubtedly 
have cost more than all the films being 
parodied combined. "We were very con- 
scious of that," says Weiss. "The dictum 
was, 'If we are spending a lot of money try- 
ing to make something look cheap, we're 
doing something wrong. 

"Even the continuity was important. The 
script person would walk up and say, 'Hey, 
this doesn't match with where that was in 
the other scene,' and I'd say, 'No, it doesn't 
matter. Don't worry about it.' All that stuff 
played great." 

Glorious Tackycolor 

Originally, the script called for doing 
"Amazon Women" in black and white, but 
after viewing some of the '50s films again, 
Weiss decided to shoot in color — albeit 
oddly-lit color. "That stuff was a kind of 
early version of Melrose Avenue [in 
Hollywood] on acid," Weiss says. 

"Another big part of the '50s was this 
low-tech look. A ship was basically plumb- 
ing fittings— not as primitive as Buck Rogers 
in the '30s, but there was a definite style." 

The style by which Landis and Weiss end- 
ed up with a quintet of directors was a little 
more mundane. "It was around the time 
when Amazing Stories was happening, and 
it was in the air that directors would do 
work as long as a limited period of time was 
involved," Weiss notes. "It wasn't like, 'My 
God, I have to commit a year to do this film 
now.' " 

Dante, a" friend, had directed two Police 
Squad episodes. Horton, an actor making 
the transition, was a friend of Landis. And 
Weiss,- loaded with production credits, was 
intrigued by directing but welcomed the 
chance to test the Lunar soil without taking 

This is filmmaker Robert K. Weiss (with 
Dan Aykioyd & Tom Hanks). He did not 
produce Cat Women on the Moon. It's 
Amazon Women on the Moon, got that? 

on a complete feature. 

According to Weiss, "The real interesting 
thing was divvying up the material: Here's a 
script, 120 pages, five directors, imagine the 

While there was some overlap, "It shook 
out so that there were different guys in- 
terested in different material. There was a 
little bit of trading, sort of like baseball 
cards: T need the White Sox team pic- 
ture. . .' " 

As a co-producer, Weiss had frequent 
contact with all the directors. He also had a 
chance to share some time with actors like 
Colbert, Forrest and Ralph (Rosemary's 
Baby) Bellamy (the druggist in "Titan 
Man"), for whom the picture represented a 
sort of homecoming. 

Much of the "Amazon Women" seg- 
ment, for example, was shot at Vasquez 
Rocks, a Southern California site where 
numerous action flicks were lensed during 
the '40s and '50s. "It's really like a shrine 
because you can walk around and start to 
recognize outcroppings of rocks," Weiss ex- 
plains. "Bob Colbert and Steve Forrest had 
done their first work out there and were 
reminiscing about what films they shot by 
which rocks." 

In addition to Amazon Women, which 
will gradually roll out to the entire country 
this fall after terrorizing several big-city 
markets, Weiss confirmed that Police Squad 
will return as a Paramount movie, with 
Weiss producing and "some combination of 
David Zucker-Jim Abrahams-Jerry 
Zucker" directing. Leslie Nielsen 
(STARLOG #54) will reprise his role. 

Although there were only six episodes on 
ABC, the videocassette collections of the 
series have done surprisingly well. "That's a 
chance to do the kind of parody I could just 
get a taste of in Amazon," says Weiss. 

"When they cancelled the show, the net- 
work president said it was ahead of its time 
because you had to watch to get the jokes. 
We had no laugh track. Where do you put 
the laugh for a visual joke in the 
background that the audience is supposed to 
pick up on their own?" 

Weiss isn't sure how Amazon Women on 
the Moon will be received. For one thing, 
despite the title, it's not really an SF film, 
since "Amazon Women" — the closest 
ostensible link with the genre— only con- 
stitutes about 15 minutes of the film. 

There aren't as many pieces as Kentucky 
Fried and the various segments aren't as 
brief, though the humor, he says, is "equal- 
ly offensive." 

For all the differences, however, Bob 
Weiss assures audiences that one constant 
rule applies: "If there's not something 
you're particularly digging, in a few 
minutes, there will be something else." 

Sounds like a format fit for a queen, even 
if she is from outer space and wears high 
heels and capri pants. •# 

20 STARLOG /December 1987 

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I'm not a science-fiction fan of other 
planets and things like that," says actor 
Bruce Dern. "My science-fiction rela- 
tionships always ask, 'How are today's liv- 
ing beings going to deal with each other, or 
what's around them in the future?' That's 
the only kind of science fiction that really in- 
terests me." 

Dern is on the set of World Gone Wild, 
being shot 30 miles out in the desert from 
Tuscon, Arizona. It's night, and five inter- 
viewers are crowded into his Winnebago- 
like dressing room. Dern is stretched out at 
his 6-foot-2 length, in costume for later lens- 
ing. A man who runs at least 10 miles every 
day, he's as hard and lean as a professional 
athlete — and his conversation is peppered 
with images drawn from sports. He speaks 
softly in his familiar voice, with not the 
faintest whiff of pretension to what he says; 
he's intent, making few overt jokes, but fre- 
quently displays irony and wit. During the 
conversation, he never laughs, and barely 
moves. His father and grandfather were ac- 
tive in politics — the latter was the governor 
of Utah — and his great-uncle was the poet 
Archibald MacLeish. Bruce Dern comes by 
his gift of gab honestly. 

His image is, with little justification, 
associated with the counterculture of the 
'60s; he's actually a thoroughly professional 
actor, well-known for his dedication as a 
performer. His role as leader of Lost Wells, 
an anachronistic hippie, still is so in keeping 
with his image that at first it's unclear 
whether what he is wearing — button- 
bedecked vest, tee-shirt reading "Don't Play 
Sun City," jeans and red sneakers — is a 
costume or just Dern's off-screen garb. As it 
turns out, it's the costume. 

A hippie in the 21st century? Dern's clear- 
ly more interested in the characterizations, 
than in stringent, perhaps crippling logic. "I 
had the same problem in Silent Running. 
Everybody wanted to know, 'How long has 
he been up there? Why doesn't he age?' You 
get into those things, and people are so 
bored, you just can't explain everything," 
Dern insists. "Here, maybe I didn't live 
through that time, but 1 remember what it 
was like back in the '60s. Maybe somebody 
told me." 

What attracted Bruce Dern to World 
Gone Wild was the humor in Jorge 
Zamacona's script, which, is "very funny, 
extremely witty," says Dern. "It's craftily 
written and well-designed. It's not pure 
science fiction like anybody ever saw before. 
I felt the movie was very entertaining, and 


A Silent 


5 Back from his Mamie death, Dern returned 
E with a Family Plot to get to know director 
# Alfred Hitchcock better. 



world Cone wild 

The "Silent Running" star who gardened in space with Huey, 
Dewey & Louie now leads a small western town on the dangerous 

side of the 21st century. 


ST ARLOG/ December 1987 23 

I've had a great deal of bad luck in the 
movies I've chosen to be in." Dern regrets 
being in unsuccessful films not so much for 
financial reasons, but because they "haven't 
reached a big segment of the audience. I 
want to be in more movies that entertain a 
vast majority of people. It's real hard, 

He brought his own ideas to the role of 
Ethan, including costume details. "I wear 
this same outfit the whole time, but the tee- 
shirts change," reveals Dern. "The first time 
you see me, my shirt says, 'See the Bhagwan 
Live.' The second one says, 'See Buffalo 
From the Air.' The third one says, 'The 
Celtics in 8.' The fourth one I wear in the 
water scenes, so it's a Culligan Man tee- 
shirt. The fifth one says, 'I'm Wasted.' I 
wanted to wear one that said 'Redford and 
Streisand Together,' but I don't think the 
lawyers could clear that." 

The role of Ethan in World Gone Wild 
was shaped with Dern in mind, and clearly 
Dern understands him. "He's the guy who's 
always right, but he never lays it on anybody 

BILL WARREN is the author o/Keep Wat- 
ching the Skies, Vols. 1 and 2 (McFarland, 
$39.95 each). He visited the set of World 
Gone Wild in STARLOG §124. 

until the last minute because he wants them 
to grow along with him," Dern explains. 
"But he's not a guru, he's not a guy who 
spends time talking about how he went to 
'de top of de mountain' and came back, 
he's just a guy who has been around. I've 
tried to make him as well-drawn a character 
as I can, but, at the same time, I've left 
room for the audience's imagination." 

Emotional "Running" 

Regarded as one of the finest actors of his 
generation, Dern earned an Oscar nomina- 
tion for his role in Coming Home, playing a 
mentally disturbed Vietnam veteran. Dern- 
ophiles also cite his outstanding perfor- 
mances in many other films: Black Sunday, 
The King of Marvin Gardens, Smile, Posse, 
Family Plot and Drive, He Said. 

He's probably best known to STARLOG 
readers as virtually the sole star of Douglas 
Trumbull's Silent Running. Dern played a 
cosmic gardener safeguarding the last re- 
maining plants from Earth aboard a 
spaceship orbiting Saturn. He was assisted 
by Huey, Dewey and Louie, three small 
robots called "drones," which influenced 
later movie robotic designs. When the 
domes protecting the plants aie eventually 
ordered destroyed, Dern flees with the last 

The gardener (Dern) is grief-stricken when 
his own carelessness injures one of his 
drone pals. 

drone. Dying, Dern leaves the one remain- 
ing robot in charge of the last dome, know- 
ing someday Earth will want its greenery 

The film met with mixed reviews, but 
most critics liked Dern's haunted, driven 
romantic. The actor has a unique ability to 
seem at once both all-American and derang- 
ed, and this unusual talent was never tapped 
better than in Silent Running. 

Dern's loyalty to director Douglas Trum- 
bull (STARLOG #12,77) and the film is gen- 
uine. "I thought Silent Running was a 
wonderful movie," he says. "But I talk to 
people today, and they tell me, 'No, it 
wasn't a wonderful movie, and that's why 

24 S f ARLOG/December 1987 

nobody went to see it.' They say, it's a littie 
movie you made for television.' Well, we 
didn't make it for television, we made it for 
the cinema. The problem is most people 
discovered it on television." 

The actor was angry about reviews that 
said Trumbull wasn't really a director, but 
"just a mechanic." Dern has, of course, 
another opinion. "Well, he's a brilliant 
mechanic. I'm sorry, but I don't care what 
they think," he remarks. "I've worked with 
two geniuses in my career, Alfred Hitchcock 
and Douglas Trumbull. And Trumbull's 
certainly not a genius as a director — but 
when he looks through the eyepiece of a 
camera, he sees something nobody else that 
I've ever worked with sees: He sees magic." 

Few actors are as devoted to their films as 
Bruce Dern is; most recall only their par- 
ticipation. Not Dern. "We made Silent 
Running for a million dollars in 17 days!" 
he says with feeling. "On an aircraft carrier 
and in a little woodshop in Canoga Park. 
With three kids who had no legs or were 
bilateral amputees. Six years later, R2-D2 
comes along. I don't care how successful 
that movie is, I still find that my relationship 
with Huey, Dewey and Louie is just as right 
on and sweet and believable. 

"I've always felt that one of the big disap- 
pointments in my career is that Douglas has 
never really gotten another opportunity, 
with the exception of Brainstorm, to show 
the other things he can do. I mean, they 
treat him as a special effects man. Well, he 
deserves better than that." 

Dern's first three films, Wild River 
(1960), Marnie (1964) and Hush. . .Hush, 
Sweet Charlotte (1965) involved Dern in 
projects with such major actors as Mont- 
gomery Clift, Lee Remick, Bette Davis, 
Olivia de Havilland and Joseph Cotten; he 
was directed by Elia Kazan, Alfred Hitch- 
Cock and Robert Aldrich. Between films, he 
was on television, appearing with major per- 
formers, including Robert Taylor and Bar- 
bara Stanwyck. "And on the fourth movie I 
did [The Wild Angels], there was Roger 
Corman and 19 other people like me! So, I 
was always around the hierarchy of 
Hollywood from the beginning. I always felt 
that, gee, if I were ever in that position, I 
would always make the people feel like those 
people made me feel — never uncomfortable. 
And always encourage them to take 
chances, to take risks as actors. Basically, 
I'm a coach." 

He absorbed his intensely professional at- 
titude toward film work from many role 
models, but two in particular: Bette Davis 
and John Wayne. "He's the most profes- 
sional man I ever worked with in my career, 
without question," says Dern. "I've tried to 
pride myself through the years since working 
with Bette Davis and John Wayne on the 
same work ethic they had. I love to make 
movies — they loved to make movies. They 
were the first people there and the last peo- 
ple to leave; they had fun making movies, it 
was their life. Well, it's my life, too." 

Alfred Hitchcock, who chose Dern to star 
in what turned out to be the master 

director's last film, Family Plot, once told 
Time magazine that "I think some actors 
are cattle, but I do believe that Bruce is the 
golden calf." 

Dern is pleased to be reminded Of Hitch- 
cock's comment. "I always felt that was a 
compliment; I got along very, Very well with 
him. I didn't know him much on Marnie, 
because I only worked five days, but on 
Family Plot, I really sought him out and 
made a big attempt to get to know him. 
Alfred Hitchcock wasn't an easy man to get 
to do that with. For him, it was like having 
the most wonderful toy in the world for 
your best friend for 12 hours a day, five 
hours a week. We had a great relationship. 
He's one of the few directors I worked for 
where every day was exciting," Dern says, 
"because you didn't know what he was go- 
ing to come up with. He was a fascinating 
guy, a one-of-a-kinder. You can't say he 
was the best, because they're all different, 
but Alfred Hitchcock was one who belongs 
on a page by himself." 

When it's mentioned that there were 
rumors that Hitchcock was so ill that he 
didn't direct some of Family Plot, Dern 
responds with the only anger he shows dur- 
ing the interview. "Oh, bullshit, he was 
there every day," the actor says. "He would 
come in every day' at 8:45 a.m., sit down 
under the camera until 1:00, go have his 
lunch, come back at 2:15, sit there until 7:00 
p.m. He was there every single day I was, 
and I worked 60 of the 70 days." 

Dern adds a bit of trivia that may escape 
even Hitchcock buffs. "We shot two end- 
ings to the movie," he reveals. "Barbara 
Harris comes down the steps at the movie's 
end, looks up at the chandelier, and then 
winks at the lens. Cut, print. Set up the 
camera, same shot. And see how ironic this 
is: Hitchcock comes down the stairs and 
winks. That was the last foot of film he ever 

shot. How great it would have been if that 
had been used as the movie's end. I was 
always disappointed that Family Plot never 
did anything. It's not classic Hitchcock, but 
it's a good, fun movie." 

A Piece of the Actor 

A committed actor, the roles Dern plays 
become very important to him, and often so 
do the on-screen relationships. Perhaps due 
to his training at Lee Strasberg's Actors 
Studio or to his own temperament, Dern 
often seems to live the roles he plays. And 
when things are right, he leaves "pieces" of 
himself ;n the film, a piece that he can never 
regain — but which is always there for 
anyone to see. "That's why I like to see the 
movies that I'm in: I feel at least a part of 
me is there, and I can see it," he observes. 
"Even in a movie like Harry Tracy, 
Desperado, which is a rather nice little 
Western. I had a great deal of problems with 
Helen Shaver during that movie's making. 
We got along, but I was probably a little 
harder on her than I should have been." 

Dern's face grows a little softer, and his 
voice is touched with emotion. "When I got 
to a scene where I had to tell her I cared for 
her, I really not only forgave her, I really 
told her how much I cared for her in that 
scene. And that was a piece of myself, and 
I'll never, ever get that back again. For brief 
periods of time — you can see it on the screen 
forever — I was in love with Helen. It was 
something I gave that was pure." 

There was even such a scene in Silent 
Running. "When I gave Dewey the watering 
can in the dome at the end, and I can't bear 
to look at him, and I turn around and walk 
away — that's a piece I'll just never get 
back," he laments. "It's not any time that I 
cry — it's any time that the emotions become 

Twice, Dern appeared with John Wayne. 

Although the Duke made short work of Dern's Long Hair, the villain avenged himself 
by doing the unspeakable— killing John Wayne. 


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In The War Wagon, Wayne shot bad guy 
Dern dead; in The Cowboys, Dern gained a 
kind of screen immortality by killing 
Wayne. Although Wayne had died on 
screen before, it was either from natural 
causes or in warfare, with the killer an off- 
screen sniper or some other non-entity. 
Dern, playing the thoroughly loathsome 
Long Hair, shot Wayne dead with five 
shots — the first two from behind. And the 
Duke was nervous about his death scene. 
"Wayne had just done his famous Playboy 
interview, in which he was very frank — they 
asked him the questions, he answered them. 
Needless to say, the liberal community was a 
little uptight," Dern recalls. "We got to the 

Her expression to the contrary, Catherine 
Mary Stewart enjoyed her World Gone Wild 
partnership. "Bruce Dern is wonderful to 
work with," she says. 

day that I had to shoot him. He wasn't hap- 
py about that day, period. They had to wire 
squibs on him, the first time for him. As we 
were getting ready to do the take, he looked 
over at me and said, 'Ooooh, how they're 
gonna hate you for this.' I replied, 'Maybe. 
But in Berkeley, I'm a hero.' He loved it, he 
absolutely loved it. It pumped him up and it 
just saved the day." 

Later, Dern had to save his own day. The 
Cowboys, he says, "was the only movie that 
was a nightmare between scenes. We had 12 
little boys; the oldest was Bobby Carradine, 
and he was 13; the youngest was Clay 
O'Brian, who's now the All-Around World 
Champion Rodeo Cowboy, and he was six. 
Then, we had 12 stunt doubles for the little 
boys, so that's 24 little boys. Then, we had a 
mom for each little boy, so we had 24 
moms, who had never been on location. 
We're at Pogosa Springs, Colorado, up at 
9,000 feet on the Wolf Creek Pass, the Con- 
tinental Divide, for four months, with 36 
wranglers. None of these people had ever 
been away from their husbands or wives, 
and it was un-be-liev-able. These kids 
thought they were in camp. 

"Between shots, as usual, there was a 
great deal of waiting," he explains. "The 
boys knew I didn't like snakes, they knew 
everything. They would put frogs in your 

bed, they would make fun of director Mark 
Rydell— nothing was sacred. They were 
after me in particular because I had killed 
their leader in the movie. So, I had to teach 
them. About the fourth day of the film, I 
had this scene with Nicholas Beauvy. I 
figured the only way I could get through this 
movie was just to make this kid so afraid of 
me he would leave me alone all during 
shooting. I said OK, this kid has a little 
respect for me, he isn't quite sure what I'm 
gonna do to him, so I can't physically harm 
him. So, I'm gonna make him never forget 
what I'm telling him. The scene is in the 
script, but in rehearsal, I came up with my 
own dialogue. Mark said, 'Shoot it just that 
way, exactly what you did in rehearsal.' 

"So, I did. I said, 'You're not gonna tell 
anybody that you saw me. And if you do, 
when you're asleep in your beddy at night, 
I'm gonna creep through the grass; and I'm 
gonna come up to your mouth, and I'm 
gonna open it. I'm gonna cut your tongue 
off and I'm gonna sew it on your cheek. 
And that tongue is gonna flap all night long 
while you're sleeping. Because in your 
throat, you're gonna be screaming, but 
there's not going to be anything to make a 
sound, because it's going to be out here 
[taps cheek].' " 

While recalling the dialogue, Dern once 

This scene from The Cowboys left a memorable impression on Dern's co-star. 

again becomes the vicious Long Hair, and 
his listeners glance at the door uneasily: Can 
they get out before he comes at them with 
the knife? And then the actor returns, and 
Dern smiles. "Well, this little kid, his 
mother told me, for two years, he had 
nightmares, waking up, screaming and yell- 
ing." He chuckles. "But it makes that 
scene, man. You see that movie with kids in 
the theater, they're going, 'Oh my God.' ' 

He's reminded of his episode of The 
Outer Limits, one of the stranger ones: 
"The Zanti Misfits." This is a question he 
clearly isn't asked often. "Earth was the 
penal colony? Me and Olive Deering, right? 
Ifwas fun," he remembers. "The Outer 
Limits was ahead of its time. But I didn't get 
very much from it, other than it was a 
48-minute TV show." 

For the only time in the interview, he 
dismisses a question briefly, probably with 
good reason. "What about The Incredible 
Two-Headed Transplant!" he's asked. "I'll 
give .you a question," he says with a hidden 
smile. "Why on Earth would you be in- 
terested? It's a piece of shit." 

If pressed, the average moviegoer would 
probably say that Bruce Dern mostly plays 
lunatics, psycho killers, freaks, weirdos 
— but the truth is that he has rarely played 
such types. Perhaps the reason that this im- 
age has been hard for Dern to elude is that 
he's superb at playing driven, haunted, 
violent men. 

"Sometimes, the characters that I play are 
so well-defined," he says, "that the au- 
dience has very little trouble knowing where 
that character's going — they're so hellbent 
in that direction." 

Are these people psychotics? "Not all of 
them. I really haven't played but three 
psychotic heavies since 1969. But in 18 
years, I played three they never forget: The 
guy in Black Sunday is psychotic, the guy in 
The Cowboys is too, and the guy in Tattoo 
is obviously very sick." He shrugs. "I would 
like to tell you I look like Robert Redford or 
Warren Beatty, but I can't. I look like this, a 
forceps baby at 25." 

In the late 1960s and the years following, 
Dern got more and more work, but almost 
always as a heavy; in fact, he became heavily 
typed as a bad guy. "I didn't see it while it 
was happening," he admits. "I only did 
when I was playing roles that weren't like 
that, about 1972, the time of The King of 
Marvin Gardens. That was the first time I 
realized the audience saw me as a guy who 
was bent on some kind of destruction." 

It was a time of another relevation for 
Dern. "I never knew I was in a business, I 
always thought I was in an art — that acting 
was an art," he says. "I didn't know you 
had to have a career managed and moved a 
certain way, with certain things that happen- 
ed." He got a new agent who insisted that 
Dern turn down scripts offering him only 
villainous roles. "So, for 18 months, I 
didn't work a day." When he returned to 
acting, it was as a good-guy cop alongside 
Walter Matthau in The Laughing 
Policeman. Dern's career changed .direction 

Venturing beyond The Outer Limits was no 
picnic for Dern who encountered a nasty 
type of bug, "The Zanti Misfits." 

permanently; he became regarded not just as 
a great heavy, not only as a fine character 
actor, but as a leading man who could carry 
a film on his own. 

But it has been frustrating as many of 
Dern's films, including those he believed in 
most sincerely, haven't done well financial- 
ly. Nonetheless, Bruce Dern has remained 
philosophical. "I never look back and say, 
'I wish I had played that role or this role.' I 
never do that," he says. "You're only as 
good as your next film, and right now 
World Gone Wild is my next film. I look 
forward; I always feel that you have to con- 
tinue onward and upward, you can't look 
back. I became an actor because I felt I was 
interested in what makes human beings do 
what they do, particularly in times of crisis. 
That kind of acting is what I like to do. "•»?*' 

"I've worked with two geniuses in my 
career, Alfred Hitchcock and Douglas 
Trumbull," declares Dern, pictured 
alongside Trumbull. 

STARLOG/December 1987 27 



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It may not be fair that such perfect lovers 
as Westley (Elwes) and Buttercup (Wright) 
should suffer so. "Life isn't fair," accor- 
ding to Goldman. "It's just fairer than 
death, that's all." 

Once upon a lime, in a magical 
kingdom called Hollywood, a brave 
youth named Rob met a Princess. 
The meeting was accidental — the Princess 
hud been sent to meet the youth 's wise and 
powerful father. But for the youth, it was 
love at first sight. 

Alas, the love was unrequited. The youth 
was a struggling co-star, hardly worthy of a 
Princess. So, Rob did what such youths 
must always do — he ventured out into the 
wilderness to prove himself worthy. 

At first, his efforts went unrewarded. The 
sitcom he created was stayed in the ratings 
after a few brief airings. His first films, a 
mock "rockumentary" and a surprisingly 
intelligent teen comedy, earned modest ac- 
ceptance in village multiplexes across the 

But when the youth made a liny pre-teen 

drama called Stand By Me, he finally found 
the pot of gold. And Rob Reiner went back 
to claim his princess — William Goldman 's 
fairy tale, The Princess Bride. . . 

Hollywood Prince 

In any self-respecting fairy tale, the story 
would end right there, with youth-turned- 
Hollywood-prince Rob Reiner and his 
"Princess" living happily ever after. But 
since we're talking about real life, this is on- 
ly the beginning. 

The real-life story started in 1973, when 
acclaimed screenwriter William (Butch 
Cassidy and the Sundance Kid) Goldman 
sent writer/producer/director Carl (The 
Dick Van Dyke Show) Reiner a copy of his 
just-completed novel, The Princess Bride. 
The book fell into the hands of Reiner's 
son, Rob, who was then playing Archie 
Bunker's son-in-law on All in the Family. 

"Rob loved the book right away," says 
Andrew Scheinman, Reiner's business part- 
ner and producer of The Princess Bride. 
"But as a 26-year-old actor, he didn't think 

there was anything he could do with it." 

Not without reason. The book was a 
slightly sardonic fairy tale, full of castles, 
pirates, magical lands, giant rats known as 
ROUS (Rodents of Unusual Size), giant 
giants, magic spells, witches, wizards, and 
Love Conquering All. In other words, it was 

It was also different. The book tells two 
stories — that of a young farmboy who 
becomes a pirate and rescues the woman he 
loves from an evil prince, and that of a 
father hoping to reawaken his son's interest 
in life by reading him the farmboy's story. 
That's the kind of non-traditional structure 
that traditionally makes studio heads un- 

In other words, The Princess Bride was 
not the kind of project that gets entrusted to 
a first-time director. 

correspondent, is a screenwriter whose work 
includes episodes of Spenser: For Hire. He 
profiled Jami Gem in STARLOG #124. 

SI ARLOG/ December 1987 29 

Reiner eventually left All in the Family 
and went on to co-create his own short-lived 
series, Free Country, before turning to film 
direction with the acclaimed rock film 
parody This Is Spinal Tap. 

Meanwhile, the Princess was wandering 
all over Hollywood. 

" The Princess Bride became one of those 
storied projects in town," says Scheinman. 
"The script was around for years and was 
almost made several times with any number 
of terrific directors. But the project always 
fell apart." 

It was after his second feature, the teen 
comedy The Sure Thing that Reiner began 
thinking seriously about The Princess Bride 
again. He gave the book to Scheinman. 

"1 thought it was fabulous," Scheinman 
recalls. "Calling around, we found out that 

Rob Reiner directs The Princess Bride with 
the same flair for humor and sentiment he 
showed in last year's Stand By Me. 

the rights had reverted to Bill Goldman." 
Reiner and Scheinman quickly made a deal 
with Goldman, then arranged to make the 
movie for All in the Family creator Norman 
Lear at Lear's company, Embassy Pictures 
(which had produced Spinal Tap and The 
Sure Thing). 

Reiner went on to direct the youth drama 
Stand By Me, which turned into a surprise 
hit, before turning his attention back to The 
Princess Bride. By that time, Lear had sold 
Embassy to the Coca-Cola Company, but 
he took the project with him to his new 
firm, Act III Communications. Two former 
Embassy executives who had moved on to 
20th Century Fox set up a distribution deal 
for the film at their new studio. Now, all 
that the filmmakers had to do was make the 

But first, Reiner and Scheinman had to 
remake Goldman's script a little. 

"Basically, Rob and Bill and I sat in a 
room and tried to see if there were any prob- 

4 M 

Would you buy a miracle from this man 
and wife? Miracle Max (Billy Crystal, right) 
and Valerie (Carol Kane) are the last 
chance for this tongue-in-cheek fairy 
tale to have a happy ending. 

Atop the Cliffs of Insanity, 
the Man in Black crosses swords 
with Inigo (Patinkin). Life, love 
and valuable baggage are the 

Into the Fire Swamp they go— brave Westley (Cary Elwes) and the most beautiful 
woman in the world, The Princess Bride (Robin Wright). 

lems," Scheinman explains. "There were a 
couple of places that the script seemed to go 
away from the book, and we tried to go 
back to Bill's original vision." 

Well, most of the time. They also made 
one major change. In the book, a frantic 
father reads his dying son the story of the 
Princess Bride to keep him alive. In the 
movie, the kid is home from school with a 
minor bug and the reader is his Iess-than- 
panicked grandfather, played as a crotchety 
charmer by Peter (Columbo) Falk. 

"Obviously, the story with the father and 
the little boy is an incredible element in the 
book, but I'm not sure it was translatable to 
film," Scheinman says. 

"Instead, we wanted the little boy clearly 
not crazy about seeing his grandfather, and 
not too thrilled with the idea of having a 
book read to him. By the end, he has 
developed a rapport with his grandfather 
and maybe even a little excitement about the 
prospect of books." 

That theme and structure may seem 
familiar to those who have seen Wolfgang 
Petersen's The Neverending Story 
(STARLOG #86, 103), in which a disillu- 
sioned young boy learns the power of im- 
agination by reading a mystical book. It 
didn 't seem familiar to The Princess Bride 

"I haven't seen The Neverending Story 

Prince Humperdinck (Chris Sarandon) never lets a day go by without killing 
something. Today's malicious menu includes torturing his rival Westley. 

STARLOG/December 1987 31 

Inigo (Mandy Patinkin), the master swords- 
man, is bored with his own talent and lives 
only to avenge his father by tracking down 
the insidious Six-Fingered Count. 

Representing brain, skill and brawn , they 
are the kidnappers of The Princess Bride: 
mastermind Vizzini (Wallace Shawn, 
bottom), Inigo (Patinkin), and Fezzik (Andre 

and I don't think Rob has, so the similarity 
didn't occur to us," Scheinman says. "It's 
not important." 

What was important to the filmmakers 
was the idea that their movie would repre- 
sent a little boy's interpretation of a fairy 
tale. That idea became the key tcVthe film's 
style, freeing Reiner from the constraints of 
"reality" both in art direction and casting. 

"Our feeling was that this was the im- 
agination of the little boy, interpreting what 
the grandfather was reading," Scheinman 
explains. "That freed us. Saying that we're 
seeing a story read to a little boy, not a 
historical film, allowed us a slightly 
heightened reality." 

It also allowed them a more-than-slightly 
lowered budget — only $17 million for a 
script that had been budgeted in the low 
thirties at another studio. Many of the film's 
sets are obviously sets; some of the effects 

make little attempt at verisimilitude, going 
instead for a deliberately funky look. 

Fairy Tale Ending 

"It's the nature of making a film that you 
can spend $5 million, $15 million, $30 
million on certain expenses and it's all irrele- 
vant," Scheinman says. "What's important 
is the storytelling. If that's effective, it 
doesn't matter whether you're looking at the 
most breathtaking panoramic setting or a 
simple little tree. Conversely, all the effects 
in the world won't get an audience involved 
if the story is bad." 

That attitude is nowhere more obvious 
than when the film's hero battles the 
Rodents of Unusual Size. You wouldn't 
think that any film could get away with us- 
ing men-in-rat-suits after the mechanical 
marvels of Gremlins. But audiences have 
screamed at the ROUS's first ap- 
pearance — and cheered when the hero 
dispatches them. 

"I suppose there are more technologically- 
advanced, more complicated ways to do the 
ROUS," Scheinman says. "We could have 
spent millions on animatronics. But to me, 
because the story is told so well, what we 
have is just fine and very effective." 

Using a child's imagination as the ruling 
principle also allowed the filmmakers to 
take chances with casting. While a standard 
swashbuckling film tends to use standard, 
English-accented types for both heroes and 
villains, Tiie Princess Bride is full of people 
you wouldn't expect to see in 10th century 

Without a doubt, the most deliberately 
anachronistic bit of casting is ac- 
tor/playwright Wally Shawn (Diane 
Keaton's "little homunculus" of an ex- 

husband in Woody Allen's Manhattan) as 
the Medieval master criminal Vizzini. With 
his obvious New York accent, Shawn is 
about as far from the Conrad Veidt school 
of deep-voiced villainy as you can get. 

"We wanted people who had very interes- 
ting personalities," Scheinman says. "Since 
this is a little boy's vision, we tried to people 
it with very interesting, different characters. 
Wally, for instance, is wonderful." 

Other bizarre casting coups include Man- 
dy Patinkin, best known for playing intellec- 
tuals in Yentl and Daniel, as Spanish 
swordsman Inigo Montoya and Billy (Runn- 
ing Scared) Crystal and Carol (Taxi) Kane as 
the very Jewish wizard Miracle Max and his 
very Jewish wife. 

"I'm really thrilled with the cast," 
Scheinman comments. "It's a real ensemble 
cast, since the film has large stretches 
without the hero and heroine in it. It's a real 
interesting potpourri." 

But some parts in The Princess Bride had 
to be cast straight — the romantic leads 
Westley, the farmboy-turned-swashbuckler, 
and Buttercup, the Princess Bride, required 
a much greater level of believability than 
wacky sidekicks like Vizzini. Not surprising- 
ly, those were the toughest roles to fill. 

"The trick with Westley is to find some- 
one who isn't just a s vashbuckler, but who 
has a sense of humor, who can pull off the 
tongue-in-cheek, almost satiric tone the film 
calls for," Scheinman says. "We met many 
actors. Finally, we saw Cary Elwes in Lady 
June and thought he looked terrific. We 
fiew to Germany to meet him, and said, 'He 
is terrific' " 

The lovely Buttercup proved to be slightly 
more elusive. 

(continued on page 72) 

32 ST ARLOG/ December 1987 



creation conventions presents 








November 14-15, '87 


January 1-3, '88 February 13-14, '88 May 14-15, '88 



















• By 

By james CAMERON /illustrated by PHIL FOCLIO 

Answers About "ALIENS 


As the writer and director of 
ALIENS, I naturally prefer the sort 
of cogent criticism contained in Lisa 
Snyder's letter (STARLOG #116) stating 
"ALIENS is perfect!" However, since there 
were 11 other letters in the same issue con- 
taining complaints of flaws in logic, ac- 
curacy and asethetic execution, I thought I 
would take this opportunity to reply en 

1 will take them in the order they were 
printed. First, Peter Briggs, who seems 
otherwise to be a fairly well-researched stu- . 
dent of ALIEN, points out incorrectly that 
"LV-426 was a ringed planet." The unnam- 

JAMES CAMERON is the writer/director 
of ALIENS. Previously, he co-wrote (with 
Gale Anne HurdJ and directed Terminator. 
His first film as director was Piranha II: The 
Spawning. Cameron's other filmmaking 
credits include Rambo: First Blood II (as co- 
writer), Battle Beyond the Stars (as art direc- 
tor), Escape from New York (as special EX 
co-supervisor) and Planet of Horrors (as 
production designer/second unit director). 
Interviews with Cameron have appeared in 
STARLOG #89 & 110 and FANGORIA 
#56. A previously unpublished Cameron in- 
terview, conducted after ALIENS' release, 
appears in THE BLOODY BEST OF 
FANGORIA #6. This essay, Cameron's 
reply to readers' letters on ALIENS, was ad- 
dressed to the Communications department 
but is published here as part of the ongoing 
SF professionals' forum, Other Voices. 

ed planetoid harboring the alien derelict 
ship, to which I gave the designation 
LV-426, was in fact a moon of a ringed gas 
giant, Which was occasionally glimpsed in 
the sky in ALIEN. The gas giant does not 
appear in ALIENS because the exterior 
scenes on LV-426 have an unbroken cloud 
cover or overcast, and the space scenes are 
handled in a cursory manner, advancing the 
story without dwelling on the wonders of in- 
terstellar travel, which so many other films 
have done so well, as their primary raison 
d'etre. You might say we approached 
LV-426 from the other direction, and the 
ringed gas giant companion was out of 

Briggs' next problem was "Why do the 
colonists not pick up the derelict SOS?" by 
which I assume he is referring to the acoustic 
beacon broadcasting a "warning." As some 
readers may know, scenes were filmed but 
cut from the final release version of the film 
which depicted the discovery of the derelict 
by a mom-and-pop geological survey (i.e.: 
prospecting) team. As scripted, they were 
given the general coordinates of its position 
by the manager of the colony, on orders 
from Carter Burke. It is not directly stated, 
but presumed, that Burke could only have 
gotten that information from Ripley or 
from the black-box flight recorder aboard 
the shuttle Narcissus, which accessed the 
Nostromo's on-board computer. When the 
Jorden family, including young Newt, reach 
the coordinates, they discover the derelict 
ship. Since we and the Nostromo crew last 

saw it, it has been damaged by volcanic ac- 
tivity, a lava flow having crushed it against a 
rock outcropping and ripped open its hull. 
Aside from considerations of visual interest, 
this serves as a justification for the acoustic 
beacon being non-operational. 

Briggs' idea that the company had already 
discovered the derelict is therefore un- 
necessary and would invalidate Carter 
Burke's motives for attempting to bring 
back a sample of the organism for study, 
and using such drastic means to do it. 

The missing scenes also provide a more 
solid connecting link in the process of the 
colony's infestation. We see Russ Jorden 
dragged back to their vehicle by his wife 
with a "facehugger" parasite attached to his 
face. We see the wife call the colony for a 
rescue party. It's fairly simple extrapolation 
to assume that the progress of the organism 
through the enclosed and isolated popula- 
tion of the colony followed much the same 
course, on a greater scale, as the life cycle of 
the original Alien on board Nostromo. 

These scenes, as well as four or five 
others, which would certainly be of interest 
to fans, will be restored for the ABC airings 
of the film and, //all goes well, in a "special 
edition" videocassette, running roughly 12 
minutes longer than the release of 137 
minutes. No confirmed release date is set for 
either of these, but stay tuned. 

Briggs' next beef is with the Alien Queen, 
and for several reasons. His contention is 
that she destroys the original intention of the 
missing scene in ALIEN. This is perfectly 

34 STARLOG/December 1987 

¥®{A5 WELL THfK's 
* LQf)V OFF 


correct, but I find it somewhat irrelevant 
since as an audience member and as a film- 
maker creating a sequel, I can really only be 
responsible to those elements which actually 
appeared in the first film and not to its "in- 
tentions." A LIEN screenwriter Dan O'Ban- 
non's proposed life cycle, as completed in 
the unseen scene, would have been too 
restricting for me as a storyteller and I 
would assume that few fans of ALIENS 
would be willing to trade the final cat-fight 
between the moms for a point of technical 
accuracy that only a microscopic percentage 
of ALIEN fans might be aware of. 

In my version of the Alien life cycle, the 
infestation of the colony would proceed like 

1. Russ Jorden attacked, they radio for 

2. Rescue party investigates ship 
...several members facehug- 
gered . . . brought back to base for treat- 

3. Several "chestbursters" free themselves 
from hosts, escape into ducting, begin to 

4. Extrapolating from entomology (ants, 
termites, etc.), an immature female, one of 
the first to emerge from hosts, grows to 
become a new queen, while males become 
drones or warriors. Subsequent female lar- 
vae remain dormant or are killed by 
.males ... or biochemically sense that a queen 
exists and change into males to limit waste. 
The Queen locates a nesting spot (the 
warmth of the atmosphere station heat ex- 
changer level being perfect for egg incuba- 
tion) and becomes sedentary. She is then 
tended by the males as her abdomen swells 
into a distended egg sac. The drones and 
warriors also secrete a resinous building 
material to line the structure, creating niches 
in which they may lie dormant when food 
supplies and/or hosts for futher reproduc- 
tion become depleted (i.e. when all the col- 
onists are used up). They are discovered in 
this condition by the troopers, but quickly 
emerge when new hosts present themselves. 

Thus, even with the Queen's vast egg- 
laying capacity, the Aliens are still a parasitic 
form, requiring a host from a different 
species to create the warrior or Queen stages 
of the life cycle. Since the warriors are 
bipedal with two arms (H.R. Giger's 
original design), it may be inferred that the 
facehugger is an indifferentiated parasite, 
which lays an egg inside a host, but that the 
resulting form (chestburster through adult) 
has taken on certain biological 
characteristics of its host. This would ac- 
count for the degree of anthropomorphism 
in the design. 

One admittedly confusing aspect of this 
creature's behavior (which was unclear as 
well in ALIEN) is the fact that sometimes 
the warrior will capture prey for a host, and 

other times, simply kill it. For example, ^-^ 
Ferro the dropship pilot is killed outright v«^ 
while Newt, and previously most of the col- ^ 

Jim Cameron's alien revelation 
for Jones the cat (see page 69): 

ony members, were only captured and co- 
cooned within the walls to aid in the Aliens' 
reproduction cycle. If we assume the Aliens 
have intelligence, at least in the central 
guiding authority of the Queen, then it is 
possible that these decisions may have a tac- 
tical basis. For example, Ferro was a greater 
threat, piloting the heavily armed dropship, 
than she was a desirable host for reproduc- 
tion. Newt, and most of the colonists, were 
unarmed and relatively helpless, therefore 
easily captured for hosting. 

Please bear in mind the difficulty of com- 
municating a life cycle this complex to a 
mass audience, which, seven years later, 
may barely recall that there was an Alien in 
ALIEN, let alone the specifics of its physical 
development. I had a great deal of story to 
tell, and a thorough re-education would 
have relegated A LIENS to a pedantic reprise 
of Ridley Scott's film. The audience seems 
to have a deepseated faith in the Aliens' 
basic nastiness and drive to reproduce which 
requires little logical rationale. That leaves 
only hardcore fans such as myself and a ma- 
jority of this readership to ponder the 
technical specifics and construct a plausible 

Kelly Godel deplores the Aliens as "lame, 
weak and shameful follow-ups to their 
predecessor." A careful analysis of both 
films would show that the adult warrior (my 
term for the single adult seen in ALIEN) has 
the same physical powers and capabilities in 
ALIENS as it did previously. Since the 
Nostromo crew were unarmed, with the ex- 
ception of flamethrowers (which we never 
see actually used against the creature), the 

relative threat was much greater than it 
would be to an armed squad of state-of-the- 
art Marines. One. crazed man with a knife 
can be the most terrifying thing you can im- 
agine, if you happen to be unarmed and 
locked in a house alone with him. If you're 
with 10 armed police officers, it's a different 

We set out to make a different type of 
film, not just retell the same story in a dif- 
ferent way. The Aliens are terrifying in their 
overwhelming force of numbers. The 
dramatic situations emerging from 
characters under stress can work just as well 
in an Alamo or Zulu Dawn as they can in a 
Friday the 1 3th, with its antagonist. 

Jim Ficken discusses plot lines for ALIEN 
III but I can't comment, since Gale Hurd, 
the producer of ALIENS, and myself have 
decided to move on to other things and leave 
a third film to others. 

Ben Smith asks where the Aliens 
originated. In dialogue, I have Ripley 
specifically telling a member of the inquiry 
board, "I already told you, it was not in- 
digenous, it was a derelict spacecraft, an 
alien ship, it was not from there." That 
seems clear enough. Don't ask me where it 
was from . . . there are some things man was 
not meant to know. Presumably, the 
derelict pilot (space jockey, big dental pa- 
tient, etc.) became infected en route to 
somewhere and set down on the barren 
planetoid to isolate the dangerous creatures, 
setting up the warning beacon as his last act. 
What happened to the creature that emerged 
from him? Ask Ridley. As to the purpose of 
(continued on page 69 J 

STARLOG/December 1987 35 

The "Running Man" screenwriter gives good 

answers, good answers as Arnold 

Schwarzenegger faces future termination on 

a game show gone wild. 


Imagine a television game show so savage 
that its entire premise is based on the 
idea of pursuing somebody with the sole 
intention of killing him. The contestant wins 
if he lives, it's as simple as that. ' 

Such is the concept of The Running Man, 
the explosive new science-fiction action 
adventure starring Arnold Schwarzenegger, 
with a screenplay by Steven de Souza. As 
startling as this whole idea for a TV show is, 
the screenwriter is quick to point out that it's 
only one step removed from reality. 

"In Japan, there actually is a game show 
in which the contestants are forced to en- 
dure all kinds of physical abuse," he details. 

correspondent, profiled Gary Lockwood in 
issue if 124. 

"They have to get in a bathing suit and sit 
on a block of ice for four hours. They're put 
in mud, stranded on desert islands, even 
made to drink lots of water and see how 
long they can go without urinating. 
Whoever gets out of their particular situa- 
tion moves on to the next level. 

"So, in actuality," de Souza continues, 
"there are these game shows right now, but 
not in America, although I wouldn't be sur- 
prised if they show up here. Remember Bat- 
tie of the Network Stars! You may say that 
wasn't fatal, but what about boxing? We 
have had boxing matches broadcast live, 
where people have died. So, this is an exag- 
geration, a stretch, but it's not impossible. 
The game show we present in this movie is a 
not-impossible synthesis of current trends. 
Would people watch it? Yes, people would 

Deciding that they didn't give him nearly 
enoughMrouble in the first Commando, 
screenwriter Steven de Souza (center, with 
sweater) and a couple of his boys are look- 
ing forward to their rematch with Arnold 
Schwarzenegger in the upcoming sequel. 

watch it. It's very easy to believe that such a 
show would be a success because it's 

The Running Man had its beginnings as a 
Richard Bachman novel published in the 
1970s. As recent history has shown, 
Bachman was actually a pen name for hor- 
ror master Stephen King, and The Running 
Man was one of the author's earlier novels. 
Rights to the story had been purchased by 
Taft/Barish Productions in mid- 1985, and 
de Souza was given the task of adapting it to 
screenplay form. 

"I felt that the novel had all the earmark- 
ings of being written in the late 1960s," he 
recalls. "It was a depressing and dark piece. 
America was being run by corporations that 
aren't even on the Blue Chip Stocks 
anymore. The hero had a daughter who was 
fatally ill, his wife's a prostitute, he dies, his 
wife dies, everybody dies. It was a heavily 
air-polluted world where you had to put on 
a nose filter before you stepped outside. 
King was writing about a deadly TV game 
show called The Running Man. You 
volunteered like you do to be on Wheel of 
Fortune or Jeopardy. On that show, you 
had to stay alive for 30 days. The book skip- 
ped around details of how they covered it on 
television. Not only that, but the people who 
killed you were called Hunters. They could 
be anyone, like the situation in Three Days 
of the Condor. 

"There weren't any real antagonists," de 
Souza elaborates. "There were rules that 
everybody followed. At periodic points dur- 
ing the hero's 30-day running period, he 
would stop at designated times and tape 
record messages. He would say something 
like, 'I'm still alive, come and get me,' and 
they would pick him up. It seemed to be an 
intermittently frightening thing. A better ti- 
tle might have been The Hiding Man 
because the book had very few confronta- 
tions. It was basically a mood piece with 
some great wit. But the political view of that 
particular America was totally outdated. 
Ultimately, we came down to the old 
Hollywood cliche— that they would buy the 
book, keep the title and throw everything 
else away. We kept the premise, but that 
was about it." 

Silent "Running" 

The process wasn't as simple as de Souza 
makes it sound, as the project went through 
no less than five directors, and for each one 
of them, the writer had to produce a dif- 
ferent draft of the screenplay. First on the 
list was George Cosmatos, the director of 
the internationally successful Rambo: First 
Blood Part II. As de Souza explains it, when 
Cosmatos was hired, he had just finished 
shooting Rambo, but it had not yet been 
released. The production team considered 
him to be a director experienced in making 

36 STARLOG/December 1987 

m s 

And according to gamester Damon Killian (Richard Dawson), the survey says: Give 
Richards (Schwarzenegger) a run for his money! 

action/adventure films, who would make 
the picture that they wanted. 

"When Ram bo came out and was a big 
success, he quite understandably said, 
'Look, guys, I can make a picture at any 
studio I want right now. I have a contract to 
do this picture, and I want to do it, but I 
want to do it the way /want to do it,' " de 
Souza reveals. "They were having debates 
over the things that George wanted to put in 
the picture. He felt that the film couldn't be 
made for the budget they wanted, and he 
refused to change his thinking, so they 
parted. The irony, of course, is that at that 
time, they were trying to keep the budget 
around $15 million. Ultimately, it went up 
to $24 million. So, George may have been 
right, it was impossible to do the picture for 
that budget." 

At that point, the film was going to be 
lensed in Canada with ChristopheY Reeve as 

the lead. The script for that creative team 
was rather different than the final draft writ- 
ten for Arnold Schwarzenegger. 

"The roles were very different," de Souza 
observes. "When writing it for Reeve, the 
character could be much more talkative 
because he's a stage actor. He could have a 
philosophy. You want Arnold to be a man 
of action and not of words. It's the dif- 
ference between casting Gregory Peck or 
John Wayne, to go back to an earlier era. I 
think Arnold is much closer to John Wayne 
than he is to Gregory Peck, who made his 
share of action movies. They would have all 
this emotional content, like 'I know we cap- 
tured the Nazi, but do we have the right to 
kill him?' Arnold would suggest that they 
break his neck. Plus, Arnold, as 
demonstrated in Commando, can be very 
funny. Christopher Reeve can't. There's 
humor in the Superman films from the split 

; de Souza puts it, the Stalkers are "col- 
orful, they're glitzy, they're bizarre" and as 
Subzero (Professor Toru Tanaka) proves, 
they get all the good-looking women. 

personality he's playing, but it's a different 
kind of humor." 

Three directors followed in Cosmatos' 
footsteps, with one, Andy Davis actually 
beginning to shoot the film. But creative dif- 
ferences between Davis and the producers 
resulted in his replacement by Paul Michael 
Glaser, formerly of Starsky and Hutch. 

"He used to be an actor," says de Souza, 
"but he has been a director for about 10 
years now. He has directed scores of TV 
shows, some Miami Vice episodes and a film 
called Band of the Hand, which was an 
amazing hit in Germany and Japan due to 
Miami Vice's popularity. And because this 
film was financed on American, German 
and Japanese money, he was chosen to 
direct it. Paul has done an amazing job, 
finishing on time and on budget." 

The final screenplay for The Running 
Man, tailored especially for Arnold 
Schwarzenegger, differed substantially from 
the original. De Souza realized that the 
novel dealt with a worldwide depression in 
which the masses were unemployed, but he 
felt that the audience wouldn't accept some- 
one like Schwarzenegger being unable to 
find a job doing something. De Souza's 
final draft would have to deal with the cur- 
rent casting situation and other areas. 

"One of the things I had to do was create 
a whole game show which had to be more 
sophisticated and more outrageous than the 
game shows on the air now, which is pretty 
hard to do if you think about it," he laughs. 
"We had to eliminate the volunteer aspect, 
because there's just no way you can believe 
that Arnold would volunteer for something 
like that. Arnold is unique among ac- 
STARLOG/December 1987 37 

tion/adventure guys. He projects a great 
deal of intelligence and cunning. I changed 
the story so that rather than make it a 
volunteer operation, it's a place where they 
send condemned criminals. It's the Roman 
Arena all over again. 

"One of the biggest problems is creating a 
formidable adversary for Arnold," de 
Souza elaborates. "It's much harder to get 
villains who look like they can get into a 
physical confrontation with Arnold. The 
main villain is portrayed by Richard 
Dawson, who is the game show's host and 
producer. He's like Johnny Carson in that 
he's the guy at the network whom you don't 
screw with. He works on a variety of levels 
and he's incredibly funny. Obviously, he 
doesn't go hand to hand with Arnold, but 
we've created the Stalkers who are the 
show's hitmen stars. They're all guys about 
six-and-a-half feet tall, and their costumes 
are so incredible that they look like Gobots 
or Transformers. There's an old saying that 
if you don't have a good villain, then you 
don't have a good story." 

Frightful Pour 

The Stalkers are a four member team 
whose names and "gimmicks" match their 
colorful costumes. Subzero makes use of a 
razor-sharp hockey stick and exploding 
pucks; Dynamo fires lightning bolts at his 
prey while singing opera; Buzzsaw operates 
high-powered chainsaws ("Kind of like 
Leatherface," de Souza notes); and Fireball 
lets loose with a bit of napalm in every 

These characters, as exciting as they 
sound on paper, seem to have stepped right 
out of the pages of a comic book. 

"This movie's world is the near future," 
de Souza counters. "It's like the one in A 
Clockwork Orange. The Running Man 
show itself is very comic book, but if you 
turn on your TV now, I defy you to tell me 
that any of the game shows are great in- 
tellectual islands. They're colorful, they're 
glitzy, they're bizarre and that's what the 
show within the movie is. Like wrestlers, 
who wear ridiculous costumes and scream, 
the Stalkers know that they're acting. And 
maybe when these villains go home, they 
have a beer and take off their costume. 
That's implied in the movie anyway. It's not 
like making a whole movie about a 
superhero. There are elements in The Run- 
ning Man that are definitely comic book, 
but Arnold is certainly very human, with 
very real problems." 

Steven de Souza grew up in Philadelphia, 
where he began his career in show business 
directing the local Bowling for Dollars and 
writing short stories and articles. He elected 
to combine both media by going to 
Hollywood with an original science-fiction 
film script and a self-imposed time limit of 
90 days. Four days after he arrived, he 
became a contestant on The Crosswits, 
where he won a car, color TV set and stereo 
system. A week-and-a-half later, producer 
Harve Bennett (STARLOG #103) purchased 
his script, after "convincing" the author to 
convert it into a two-part episode of The Six 

38 STARLOG/December 1987 

Million Dollar Man. De Souza went on to 
write for The Bionic Woman, Lucan and 
Gemini Man, before deciding to leave the 
SF genre for a while. 

"There was a period of time when I was 
getting so pegged just doing that stuff," de 
Souza admits, "that I thought I had better 

So, de Souza penned episodes of such 
shows as Foul Play, Rosetti and Ryan and 
The Renegades, before re-entering the genre 
as producer of Knight Rider's first season 
and creator of The Powers of Matthew Star. 
At the same time, he began scripting movies. 
His first effort was the campy superhero 
musical, The Return of Captain Invincible, 
starring Alan Arkin and Christopher Lee. 

"It never played in America," he 
laments. "Christopher Lee always talks 
about it [as he did in STARLOG #70] 
because he got to play a funny part. It 
played overseas and won some film festival 
awards in Europe. I'm sure it will show up 
on cable or something. It was a crazy 
musical, much like The Rocky Horror Pic- 
ture Show. It actually had a release date, but 
then the distributor went bankrupt and 
everything went wrong." 

He followed with the screenplays for the 
highly successful comedy-action-adventure 
48 HRS. and Commando. Between those 
two films, de Souza managed to produce the 
first four episodes of "V, " a series he says 
he knew was in trouble right from the 

"You had done an interview with Ken 
Johnson [the "V" creator, published in 
STARLOG #104] in which he detailed why 
'V failed," de Souza states. "Essentially, he 
said it failed because he didn't do it, which is 
understandable from his point-of-view. But 
I don't think he has a monopoly on how to 
make a show like 'V work. Once he left, 
whoever the studio put in was a creation of 
management. They're not going to take a 
creative artistic stand when they've been ap- 

"When Blatt/Singer asked me to serve as 

supervising producer, I pointed out that 
they had a premise which every week under- 
mines itself. It's what David Gerrold said in 
his book The World of Star Trek, which 
was that a series could suffer from a 
'hardening of the arteries.' He said that the 
best premise is one in which it is reinforced 
every week. The danger of 'V as a series is 
the same trap that Battlestar Galactica fell 
in. The Cylons have defeated the humans. 
The humans have lost. They're the only sur- 
vivors and they're running away. Nobody 
likes a series about losers anyway. Every 
week, you undermine your premise because 
the premise is that these guys lost, yet every 
week, they win. The same situation was true 
of 'V. 

"The network wanted a serial "story. The 

studio wanted to do self-contained episodes, 
because self-contained episodes were better 
for syndication. Blatt/Singer, which had 
never done a series before, brought in all 
these soap opera writers. I had to work with 
them when I came on as supervising pro- 
ducer. I had a staff of about six people, and 
there was only one other person who had 
any experience doing adventure programs. 
It's a totally different animal, yet somehow 
they couldn't see that." 

Blithe "Spirit" 

A more enjoyable TV experience was a 
pilot adaptation of Will Eisner's The Spirit 
starring Sam (Flash Gordon) Jones (COM- 
ICS SCENE #1), didn't sell the series, 
though it finally aired in Summer 1987. 

De Souza currently has two scripts about 
to go into production: Seven Hours to 
Justice starring Beau Bridges, and the live- 
action version of The Flintstones. 

"After I did the script for The Running 
Man," de Souza says, "Taft/Barish asked 
me what I thought of The Flintstones. They 
had producer Joel Silver, whom I had work- 
ed with on 48 HRS. and Commando. I lov- 
ed the idea of doing Flintstones because I 
had killed and maimed all these people in 
the movies, and this would be a change of 
pace. I've just finished the script and we're 
talking about shooting it at the year's end 
for next summer. Jim Henson will be in 
charge of making all the animals." 

Next on the theatrical front is Commando 
(continued on page 69) 

STARLOG/December 1987 39 

r-v <•> 


o f 




A touch of "The Paradise Syndrome," 
brought on by a need to get away from it 
all and a bout with amnesia, turned the 
good captain into Kirok, god of an Indian 
tribe led by Garo (Richard Hale). 

Treks into Paradise 


Margaret Armen 

The writer who gambled with "The 
Gamesters of Triskelion" speculates on star 
ship fortunes and the scripting syndrome. 

nlike most other TV series of the 
time, Star Trek took stands on 
a variety of things, including racial 
* equality, 'unity among mankind and op- 


« Her two animated episodes were "fun to 
I write'*— and exciting to watch as the Aqua 
| Shuttle leaves the Enterprise in "The 
< Ambergris Element." 

timism for the future. That's why it's 
somewhat surprising that the attitude during 
the show's first season was, according to 
Trek writer Margaret Armen, sexist. 

"That was the nature of the business," 
explains Armen, one of only two female 
writers who penned Trek episodes during 
the series' first two years. "There was a 
great deal of discrimination against women 

40 ST ARLOG/ December 1987 

at that time, and there were only a handful 
of us making a living at writing for TV. Dur- 
ing the first season, Gene Roddenberry 
didn't employ any women writers except for 
his secretary, D.C. Fontana [STARLOG 
#117]. She was so helpful, and wrote a script 
that was so good that Gene became recep- 
tive to women writers." 

Armen, who had always had a love for 
science fiction and Westerns, was very ex- 
cited when Star Trek began airing and 
wanted to write for the show; Throughout 
the entire first season, she and her agent 
"banged" on the door to get in, until she 
was finally given a chance. 

"I was very pleased when I made it, and 
even more pleased when I found that I had 
so much rapport with Gene Roddenberry," 
she laughs. "Gene's wonderful to work 
with. He's a real writer's writer. If you come 
in there with an idea that's a little rough, 
Gene can see it through a writer's eye and 
envision what it will become and whether or 
not it will work. He's marvelous that way." 

The idea that Armen presented to Rod- 
denberry was "The Gamesters of 
Triskelion," in which Kirk, Uhura and 
Chekov mysteriously find themselves on a 
planet where they're to be traded as gaming 
animals to fight for the pleasure of their 

"That was a science fiction idea I had had 
in mind for a long time," Armen explains. 
"1 thought that one of these days I might do 
it as a short story about a planet where peo- 
ple are used as gaming animals. But when 
Star Trek came on the air, I thought it 
would be wonderful to do it as a TV show. 
Star Trek seemed the perfect vehicle. When 
I went in to Gene with it, the idea was very 
roughly developed since I had never written 
for Star Trek before. But Gene saw its 
potential and talked it through with me until 
it was tailored to the Star Trek format." 

Armen would write again for the third 
season, which marks her as one of the few 
people who worked under the producing 
regime of Roddenberry as well as the final 
year's Fred Freiberger (STARLOG #39, 40). 
As such, she can clearly differentiate be- 
tween the approach that each man took 
towards Star Trek, and what type of stories 
they wanted. 

"Working with Gene was marvelous, 
because he was Star Trek," she remarks, 
"and he related to the writers. Fred came in 
and to him Star Trek was 'tits in space,' and 
that's a direct quote. I was in the projection 
room seeing an early episode, I've forgotten 
the reason, and Fred came in. He had been 
signed to produce and was being briefed. He 
watched the episode with me, smoked a big 
cigar and said, 'Oh, I get it. Tits in space.' 
That didn't sit well with me at all, but I got 
along well with Fred. With him, I did 'The 
Paradise Syndrome.' Of course, Gene was 
the executive producer in an advisory 
capacity, and he really had the last say on 
approving story ideas. So, I think it was ac- 
tually Gene who accepted that one, because 
I feel 'The Paradise Syndrome' was one that 
Fred would have let go. * 

Armen had been waiting for something like 
Star Trek to come along to try out her idea 
of having "The Gamesters of Triskelion" 
turn people like Shahna (Angelique Petty- 
john) into gaming animals. 

"I suppose they were looking for two dif- 
ferent types of stories," Armen elaborates. 
"Fred was looking for all action pieces. 
That's really why he wasn't crazy about 
'The Paradise Syndrome.' He didn't think 
that there was enough violent and terrifying 
action in it. He didn't realize that the 
suspense would come from the characters, 
their relationships and so forth. There was 
some action in it, but no monsters. So, Fred 
looked for action pieces, whereas Gene was 
looking for that subtlety that is Star Trek. 
Action, but with people carrying the story. 
It's hard to put into words because any Star 
Trek buff knows that there is a subtle thing 
about the show . . . especially during the first 

In "The Paradise Syndrome," Kirk gets 
amnesia and loses himself among a primitive 
Indian tribe where he becomes their god, 
Kirok. Overall, the episode was quite power- 
ful and emotionally touching. 

"It turned out well," observes Armen, 
"and Gene insisted that it be done. Fred 
thought the sponsors wouldn't like it at all, 
but it was the only one that they did like of 
the first group that Fred presented. I don't 

Unlike network executives and even some 

of those who worked on the show, 

Margaret Armen "always felt that Star Trek 

would become a part of history." 

really know if Fred ever realized that Star 
Trek was about people. 

"As far as the story's genesis goes, I 
thought that these people on a spaceship for 
years and years have to get awfully sour, 
and have a terrible longing for their home 
planet and the simplicity of an Earth-type 
nature. So, I wondered what would happen 
if they were just hungry for R&R on an 
Earth-like planet, and they suddenly and 
unexpectedly come upon a planet which has 
a primitive but idyllic civilization. It touched 
on man's longing to go back to very simple 
things — to love and be loved in a simple and 
open way. I think if Gene Roddenberry had 
been producing, the episode would have 
come out better. But who can say? People 
loved it. I understand that the sponsors' 
wives adored it." 

Armen's final effort for the series was a 
rewrite of David Gerrold's "The Cloud 
Minders," a situation which prompted a 
considerable amount of controversy. 

"Freddy Freiberger called me in," Armen 
remembers, "and said that he had two 
writers, he didn't tell me who, from whom 
he had gotten this story. He said, 'I don't 
want you to look at the teleplay, Margaret. 
It doesn't work. It's all philosophizing and 
talk. We need something with action. It's a 
good basic theme and a good basic story, 
and we're going to tell you the story. From 
that, we want you to start from scratch and 
do a scene breakdown and hopefully, a 
teleplay.' All they told me was that part of 
the society was living on the planet's surface 
(continued on page 72) 

STARLOG /December 1987 41 

J.M. Dillard 

How could she do all these horrible things 
to such beloved characters? "I think I'm 
just mentally disturbed," J.M. Dillard says. 

extremely anemic. So, there aren't any real 
vampires skulking around, but 1 had fun 
with it, in a scientific sort of way." 

And with crew members getting 
desanguinated all over the ship, readers can 
also expect Dillard to have fun developing 
Dr. McCoy, as she lets the medico take over 
the limelight which Spock occupied in her 
first two works of fiction, Mindshadow and 
Demons. "There's a lot more of McCoy. Of 
course, he's one of my favorites, second to 
Spock," she admits. "I have an interesting 
little thing in there about why he never fell in 
love with Christine Chapel. But, there's also 
a great deal of Kirk. And you can announce 
that Nurse Chapel dies." 

Blood-drained nurses, crushed Vulcans, 
mind-warped crew members — what would 
possess the author to visit these atrocities on 
Kirk and company? 

"That's really hard to say. I think I'm 
probably just somehow mentally disturbed. 
1 really enjoy going and watching horror 
movies and reading books where the author 
is really good at controlling his audience, at 
frightening them. Somehow, I just cackle 
evilly when they do that," Dillard reveals. 
"And when they have 50-some Star Trek 
books out, you really have to be careful not 
to repeat what has been done. You're con- 
stantly finding the universe on the brink of 
extinction, so I thought this should be a little 

However, before she could perpetrate one 
fiendish act after another on the 430 people 
aboard the Enterprise (or less, depending on 
the body count at any given novel's end), 
Dillard has to endure a horror story or two 
of her own in getting her start, letting 
something that most people fear actually 
motivate her to become an author. 

"I had been a closet Trek fan for many 

Biood on the "Enterprise 

Trying to satisfy her "Bloodthirst," the "Star Trek" novelist takes a 
walk on the wild side of the 23rd century. 

er first time out, she threw Spock 
off a 400-foot cliff, crushing half his 
body and nearly destroying his 
mind. Then, she released a parasitical race 
of sadistic energy-beings from their ancient 
prison, slaughtering and torturing hundreds 
as they infested the Enterprise and prepared 
to engulf Vulcan. And now, author J.M. 
Dillard is ready to unleash an even greater 
horror on the unsuspecting crew of the 
Federation's flagship in her latest novel, 
which she says, "has got a delightful little ti- 
tle: Bloodthirst. 1 go for subtlety." 

Set during the days of the original five- 

42 SJARLOG/ December 1987 


year mission, this new voyage has Kirk and 
company tune in on a distress signal and 
dash off to pick up Adam, the lone surviv- 
ing member of a small Federation research 
team that had been developing genetically 
engineered viruses. Adam is a vampire. 

"Of course, it's not a legendary 
vampire," Dillard hastens to add. "This guy 
has something similar to porphyria, which 
was a disease that people used to have a long 
time ago and they say is one of the reasons 
that vampire legends began. It's still around. 
Sunlight can actually burn holes in your 
skin; your teeth become elongated; you get 

years. I wasn't active in conventions or 
anything like that, but I secretly watched the 
series. When I noticed they were selling the 
novels, I used to smuggle them into the 
house. My husband didn't even know I was 
reading these things," she confesses. "It's a 
little awkward because I teach English over 
at American University in Washington D.C. 
so I really had to keep it under wraps. But, I 
read the novels and said, 'Hey, I ought to 
try my hand at this.' And well, I was lucky. I 
got fired one semester for unionizing ac- 
tivities, and I said, 'Why not?' 

"I basically hid in the closet and wrote 







couraging us to have more continuity from 
book to book, with more recurring 
characters. So, we're going to try and 
develop Tomson as almost a regular." 

In fact, having already survived the ter- 
rors of Mindshadow and Demons and ready 
to face more of Dillard's deviltry in Blood- 
thirst, Tomson has started turning up in 
other Trek novels. The intrepid Security 
Chief has already turned up briefly in Gene 
DeWeese's Chain of Attack and will be seen 
again in Ann Crispin's Time for Yesterday, 
the sequel to Yesterday's Son. 

"1 don't mind them using Tomson at 
all," says Dillard. "To tell the truth, I'm 
flattered. It's not something that I worry 
about because after all, I'm using Gene 
Roddenberry's characters. It's not quite the 
same as if I were doing my own thing; I 
would probably get my lawyer and start 
screaming if somebody used one of my 

Because he didn't watch his step on a 
400-foot cliff, Spock faces becoming a 
Mindshadow of his former self. 

Mindshadow, didn't let anybody look at it, 
did the format correctly according to 
Writer's Market, got the right address and 
sent it off. I waited a year, called the editor, 
who was Karen Haas at the time, and said, 
'Hello. Do you have my book?' She said, 
'No. We've lost it.' So, I set back to work 
ori Mindshadow and was going to make it 
even bigger and better, right? Before I got 
finished, about three months later, she call- 
ed me and said, 'Oh. I did find it, and we're 
going to buy it.' " (Dillard would not have 
been able to do the same thing today, she 
notes. Pocket Books is now accepting sub- 
missions only through literary agents.) 

But being dismissed from the University 
provided Dillard with more than just 
motivation. Thanks to one individual, she 
was able to develop her most enduring addi- 
tion to the Star Trek universe, the "super- 
competent, anal-retentive, really uptight" 
Chief of Security, Lt. Ingrit Tomson. 

"The University had to hire me back and 
they did fire the person who fired me for my 
unionizing, and now that I think about it, I 
see a great deal of her in Tomson. Kind of 
very pale and very cold in demeanor. So, 
maybe I was subconsciously affected by that 
when I was writing her, but I'm much more 
sympathetic towards the character." 

And part of that sympathy is shown in 
not having her blown away at the first sign 
of an alien menace. "Security people have a 
terrible tendency to get greased, let's face it. 
I would like to see a trend away from the 
poor redshirts getting it all the time, and I 
would like to have some continuing 
characters outside of the Big Three," she ex- 
plains. "The way it has been done up to 
now is each Trek novel is its own universe, 
but the new editor, David Steyi, is en- 

it's up to Vulcan science, good old- 
fashioned medicine and a psychic Federa- 
tion agent to exorcise a horde of Demons 
from the Enterprise. 

characters. Star Trek is different, and 
everyone else has been using characters that 
were created by other people in their books, 
so if somebody borrows mine, that's fine. 
All the authors have been nice enough to ask 
me first, so I haven't had any problem." 

Likewise, Dillard got the opportunity to 
add Vonda Mclntyre's Snarl to the security 
team she has been slowly developing. Ensign 
Lisa Nguyen, after a small mention in 
Demons, returns in Bloodthirst flanked by 
two new characters, an Andorian female 
and a human called Stanger that Dillard 
"based on [former football pro] Franco 
Harris, physically at least. Other than that, I 
just won't say." 

However, she will say something about 
her forthcoming project, Kolinahr. One of a 
series of books set to appear through 1988 

that explore "The Lost Years" between the 
end of the original voyages and the begin- 
ning of Star Trek: The Motion Picture, her 
newest work returns Dillard's focus to the 
character who held her interest most in her 
first two novels. 

"It will start within a couple of months of 
the end of the five-year mission. Probably 
there was some kind of big adventure near 
the end, but I think there were definitely a 
few traumatic goodbyes, one of which I'm 
going to have between Kirk and Spock," she 
notes. "Basically, something's going to hap- 
pen that will make Spock decide to go into 
Kolinahr. So, we'll see what happened to 
him, why he left the service and a little bit of 
Kolinahr itself." 

In fact, readers will discover "what it used 
to be before Surak came along with the 
Vulcan Reformation," Dillard reveals. 
"Originally, it was a form of mental con- 
trol, and only a select group were in it. They 
were the ruling guys, and only the people 
who were initiated into Kolinahr had these 
great mental powers. Magic is basically a 
mental thing, so you could almost call this 
Vulcan sorcery. 

"What finally happened was that some of 
these mind-lords of Kolinahr were influenc- 
ed by Surak, had this big change of heart 
and decided they were going to use these 
powers to help the Reformation. They 
wanted to start being more peaceful so they 
had to battle the opposing Kolinahr 
wizards," she explains. "Eventually, 
Kolinahr changed and instead of trying to 
master and control other minds, they 
directed it inwards and tried to control 
themselves and their emotions." 

However, not all of the evil Kolinahr 
masters were vanquished during the Refor- 
mation, setting the stage for their latest 
(continued on page 72) 

t- - - '-■-"- 









the nail nouaw 



A vampire takes a bite out of the Enter- 
prise crew, revealing his Bloodthirst on 
their latest voyage. 

STARLOG/December 1987 43 

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[jQu[fQ§J |bvmarcshapir 

^©ZZG @®DT]®CPC5]GQ®[fQ' 

ndy Proberi was sitting in trout ol 
his television set when he heard the 
news. Rick Sternbach was in his 
car, tooling through Los Angeles freeway 
traffic when the unexpected came hurtling 
out of his car radio. 

"1 pulled off at the first freeway exit and 
into the first gas station," recalls Sternbach. 
"1 called up Susan Sackett [Gene Rod- 
denberry's assistant and a former 
STARLOG columnist] and said, '1 under- 
stand things are starting up again.' " 

The start-up was the October 10, 1986 an- 
nouncement that Star Trek, in the guise of 
Star Trek: The Next Generation, was warp 
driving its way back to the small screen. 

Sternbach landed the job of illustrator on 
the new series. Probert accepted a similar 
offer as senior consulting illustrator. Both 
were instantly assigned the challenge of 
designing the newest starship to bear the 
name Enterprise as well as the designing of 
numerous other elements of the new Star 
Trek universe. This task is made all the more 

illustrator Rick sternbach & designer Andy Probert have followed 
Gene Roddenberry's orders, making the latest "Enterprise" livable 

for the new "Star Trek" crew. 

STARLOG/Deeember 1987 


The holo deck can provide any environment at the touch of a button. 

difficult because of two standard episodic- 
TV problems: 

Not enough money and not enough time. 

"It has been fairly hectic," concedes Pro- 
ber! in the upstairs Paramount Studios 
workshop that has been his home and 
creative center for Star Trek: The Next 
Generation since December 1986. 

"We haven't really been able to sit back 
and take our time with the show's design 
and concept," notes Probert. "We have a 
definite deadline on getting this show off the 

Signs of that impending deadline are 
everywhere. A newspaper clipping announc- 
ing the final casting of the series regulars is 
tacked deeply into a bulletin board near 
Probert 's desk. The series' two-hour pilot 
script, "Encounter at Farpoint," sits on a 
nearby table. Probert, in direct contrast to 
the high level of security surrounding The 
Next Generation, says it's OK to take a 
quick look. 

Sternbach, in another part of the 
workshop, alternates telephone interrup- 
tions with the retouching of starship draw- 
ings, many of which ring the walls around 
Probert and lay haphazardly on his desk. 

Shortly after signing aboard Star Trek for 
the second time (Probert did design work 
for Star Trek: The Motion Picture which he 
discussed in STARLOG #32), it became ob- 
vious to Probert, through meetings with 
Gene Roddenberry, that "The Great Bird of 
the Galaxy" had some definite ideas about 
the new show's look. 

"Gene made it very clear that he didn't 
want the direction of the stories to dictate 
design," Probert explains. "He didn't want 
to lose the sense of identification people had 
with the old TV series and movies. But, 
since the new series takes place nearly 100 
years after the original time period, he 

MARC SHAPIRO, Los Angeles-based cor- 
respondent, has contributed to Faces and 
FANGORIA. He visited the set of Masters 
of the Universe in STARLOG #122. 

wanted things like the Enterprise and other 
space hardware to reflect that evolution." 

Bridge work 

The first job Probert tackled was the 
designing of the Enterprise's bridge; a 
pivotal set where the lion's share of the early 
episodes' scenes will be shot. Working with 
Roddenberry, Probert created an egg- 
shaped bridge. The captain's station is 
centered on the set while the horseshoe- 
shaped ramp surrounding it meets, at an 
elevated point, a bank of computers set over 
seats that fold out of the wall. At the narrow 
other end of this oval-shaped module rests a 
massive view screen. 

"Gene was adamant about how the 
bridge should reflect the new show's ad- 
vanced technology," says Probert. "He 
didn't want a little TV screen stuck on the 
wall. What he wanted was a huge 
holographic viewport that would dominate 
the bridge. Gene also indicated that the 
bank of computers at the rear would be do- 
ing most of the work so that the number of 
people required on the bridge to keep the 
ship operative would be reduced." 

Following the creation of the bridge, 
which also contains three turbo lifts (two 
main and one emergency), Probert began 
designing a number of first-time sets that 
will be featured in the series. 

"There is a conference lounge that will be 
located directly behind the bridge," reports 
Probert. "And since the current voyages are 
of a much longer duration, we've had to 
design individual living quarters. The cap- 
tain will have his own office right off the 

"We have also modernized some of the 
regular sets, like sick bay. The design of that 
set and many of the others is much more hi- 
tech and there are many more windows to 
look through." 

Probert says that several early discussions 
centered on what should be within quick 
walking distance of the bridge. An on- 
bridge transporter was considered but 

ultimately junked because Roddenberry lik- 
ed the idea of having conversations in the 
urbo lifts. And then there is the current up- 
n-the-air status of the bridge bathroom. 

"That's right, we have designed the first- 
ver starship bathroom," chuckles Probert. 
"You many not see it in the early episodes, 
but we're looking forward to the day when 
somebody has been on duty for 12 hours 
straight and has to go in the worst way." 
; Because of budget limitations, much of 
Star Trek: The Next Generation's interior 
sets have been appropriated from Star Trek 

"Nothing in the way of sets has survived 
• from the first TV series," says Probert dur- 
ing a later tour of the three soundstages 
housing the Star Trek sets. "The only thing 
that has actually survived from that series is 
a miniature shuttlecraft model which will 
end up being in the series as a decoration in 
one of the apartments." 

True to Probert 's words, the watchwords 
on the Star Trek: The Next Generation sets 
are "modify" and "revamp". Workmen 
are scuttling in and out of a reworked engine 
room set. A massive coiled transmitter is 
rammed hard into the set's center; all the 
better to emphasize the Enterprise's warp 
drive. A carpenter is busy in sick bay, ad- 
ding support to an examination table. 

Down an all-too-familiar ship's corridor a 
team of workers is laying down a fresh layer 
of carpeting. 

A variation on the movie shuttle, the 
Sphinx is a proposed two-person craft for 
The Next Generation. 

Avoiding the pistol look of the phaser, 
Sternbach and Probert have devised a 
weapon that accommodates the varying 
ways it can be gripped. 

46 STARLOG/ December 1987 

'.'It's all economics," says Probcrt as he 
loss with pari of ihe computer availability 
imbedded in ihe corridor walls. "In a sense, 
ii probably would have been cheaper to just 
build all the sets from scratch. But having 
the feature film sets on hand has definitely 
saved us some time." 

Proberl explains that, by comparison, the 
designing of the Enterprise's exterior was a 
breeze. "We hit on, the exterior design right 
away," he says. "It was my thinking that 
the first TV series had established the look 
of the starship. When I worked on the first 
Slur Trek movie, we basically updated the 
design into something that would play on 
the big screen. The Enterprise of Star Trek: 
The Next Generation moves the starship of 
the first series ahead 100 years." 

To wit, the new Enterprise is much more 
streamlined than the original, more of a 
piece of sculpture than a piece of space 
hardware. At nearly twice the length of the 
original (an estimated 2,108 feet), this fifth 
generation starship contains an estimated 
eight times the interior volume of the first 
television model. 

"But people shouldn't gel the idea that 
the design will be totally unrecognizable as 
the Enterprise," cautions Probert. "The 
saucer that everybody remembers is still on 
top. The main module and the warp engines 
si ill look familiar. We've even gone back to 
the original blue-green color of the old TV 
starship [the motion picture Enterprise being 
white]. There will be no mistaking this ship 
being anything but the Enterprise." 

Shuttle Diplomacy 

Probert, aided by Sternbach, has also 
designed two miniature Enterprises, a six 
foot and two foot model, that will be ac- 
tivated by Industrial Light & Magic for long 
shots in space and movement sequences. 
Probert also volunteers that, even this late in 
the design game, the possible use of a 
number of pieces of space equipment are 
still on hold. 

"We're not sure to what degree shut- 
ilecraft will play a part in the series. I have 
designed a two-person shuttle called The 
Sphinx which is an extension of the model 
used in the feature films. We also have 
designs for eight and 20 passenger shuttles 
that may or may not be used. 

"There is a baby flying saucer in the plan- 
ning stages that would serve as a kind of 
captain's yacht for ceremonial trips down to 
different planets. One of the major changes 
in the new series is that Starfleet now has a 
working relationship with the Klingons. The 
new bad guys arc a group called the Ferengi. 
We are working on some designs for the 
Ferengi spaceships but nothing has been 
finalized yet." 

Probcrt returns to his work but not 
before assessing the design challenge of the 
new Star Trek series. 

"People should be pleased. We have 
taken things forward while still keeping the 
Star Trek identity intact. Overall, I would 
say the new look is as good as what has been 
done in the movies." 

Gene Roddenberry wanted the bridge, like Data (Brent Spiner), to reflect the new era 
that Star Trek has entered. 

Sternbach sidles over to the hot seat. The 
illustrator, who has been bringing Probert 's 
ideas to life on paper, says that there has 
been a real sense of being a part of this new 
series. "And the reason is that this has been 
the kind of show where people ask you to 
use your mind," Sternbach observes. "I 
have worked on many projects where I was 
just a hired hand. But it has been a good 
feeling here to have a story editor come up 
and ask if it's OK to fire a phaser through a 
deflector shield. Things like that make you 
feel like you really are contributing." 

Sternbach says that there has been room 
to play around in designing Star Trek: The 
Next Generation and that the basic con- 

"Keeping the Star Trek identity intact," the 
original TV Galileo has been given a 

STARLOG/£>«e/H*e/- 1987 

Another example of the old updated is the TR 560 Tricorder VI. 

M«3 rsez> 

To keep Data ever ready, the designers have come up with a bed which gives an 
android a charge. 

straints of keeping the Star Trek hardware 
familiar to viewers hasn't kept the design 
team from stretching their creative muscles. 
"A phaser will still be a phaser and a 
tricorder will still scan and analyze," assures 
Sternbach. "But we have modified some 

things. We've gotten away from the pistol 
look of the handheld phasers. We have bas- 
ed the new design on the fact that there are 
many ways for the human hand to grip 

Sternbach reports that one of the totally 

The mighty Galaxy-class 1701-D as 
envisioned by Probert. 

new additions to the Star Trek environment 
is the form of the communicators. 

"In the old TV series, we had the flip- 
open device and, in the features, there were 
the wrist communicators. The communica- 
tors in the new series are now built into the 
insignia on the uniforms. All a person has to 
do is tap the insignia to activate it." 

Sternbach explains that the com- 
municator's evolution is an example of the 
overall design approach to Star Trek: The 
Next Generation. 

"We believe we have come up with new 
things that will stimulate the audience's 
mind and that those new ideas will be 
balanced out by familiar things that have 
come before," he says. "We have been 
given the opportunity to try new things and 
we're not really limited in what we can 

"As long as we remember that this is the 
Star Trek universe." 

48 ST ARLOG/ December 1987 



Tens of thousands of FANS nationwide have made going to CREATION CONVENTIONS a regular habit! Each CREATION 
CONVENTION features guest stars, dealers rooms with tons of merchandise on sale (stuff you can't find elsewhere!), slideshows, 
films, events, auctions, contests, free gifts and more! If you are a fan of STAR TREK, SCIENCE FICTION MEDIA, 
JAPANESE ANIMATION, etc.; in short, if you are a reader of STARLOG we know you're gonna love the in-person enter- 
tainments awaiting you at these CREATION CONVENTIONS... 


Holiday Inn Center City, 18th and 
Market. With MARINA SIRTIS of 


Hyatt San Jose, 1740 North 1st Street. 
With JONATHAN FRAKES, the star of 
TION in his first convention appearance! 


Marriott Hotel, 2625 Thousand Oaks 
Blvd. With WALTER KOENIG (Chekov 


University Hilton Inn, 3110 Olengtangy 
(Uhura of STAR TREK). 


PENTA HOTEL, 33rd and 7th Avenue. 
"The greatest convention of the Year!" 
With 100 Guest Stars including: 
(Diana of V), JOHN NATHAN 
TURNER (producer of DOCTOR 

LAS VEGAS, NV JAN 9-10, 1988 

SHOWBOAT HOTEL, 2800 Freemont 
(Chekov of STAR TREK!) 

BOSTON JAN 16-17, 1988 

Marriott Copley Place, 1 10 Huntington 
(writer of X-MEN). 

SAN FRANCISCO JAN 23-24, 1988 

Sheraton Palace Hotel, 2 New Mont- 
gomery Street. With JIMMY DOOHAN 

ANAHEIM, CA JAN 30-31, 1988 

Sheraton Anaheim, 1015 West Ball 
IN SPACE'S legendary DR. SMITH!) 
and more! 

WASH., DC JAN 30-31, 1988 

TEL, 333 Jefferson Davis Highway in 
Arlington, Virginia. Guests to be 

MANHATTAN, NY FEB 27-28, 1988 

PENTA HOTEL, 33rd and 7th Avenue. 

NEW HAVEN, CT MAR 19-20, 1988 
Street. Guest to be announced. 

LOS ANGELES APR 9-10, 1988 

HORRORS." The weekend event that 
remains one of the most talked about in 
our history returns with greats of the hor- 
ror movie world! 

DEARBORN, Ml MAY 14-15, 1988 

superstar STAR TREK guest is expected! 

MANHATTAN, NY APR 23-24, 1988 
STARLOG FESTIVAL. The highlight of 
the year for STARLOG readers! The 
pages of your favorite magazine come 

LONDON, ENG MAY 21-22, 1988 


All CREATION CONVENTIONS are open from 11AM to 7PM daily. To get complete details on any of the conventions 
please send a self addressed stamped envelope to CREATION, 145 JERICHO TURNPIKE, MINEOLA, NEW YORK 11501. 
Our hot line number to call is (516) SHOWMAN business hours Eastern Standard Time. TICKETS are on sale at TICKETRON 
OUTLETS (where applicable) or at the DOOR. If you need HOTEL RESERVATIONS we can get you lower than normal 
room rates: call us at our hot line number! 


includes the cost of postage and ship- 
ping: Send payment to CREATION, 145 
Jericho Turnpike, Mineola, New York 
11501. Make checks payable to 

BLAKE SOMETHING: A behind the 
scenes look at BLAKE'S 7 in this booklet 
scripted by PAUL DARROW including 
photos from Paul's collection. $6.00 

WEST as BATMAN! Full color and 
hand-signed! $6.00 

William Shatner Live! A one-hour VHS 
tape of Bill's CREATION CONVEN- 
TION appearance in L.A. Dynamite! 
Portions of proceeds from this tape go 
to charity! $24.95 

CERT! One hour VHS tape of Nichelle's 
dazzling musical concert! $19.95 


WALTER KOENIG: booklet by Walter 
includes a STAR TREK play, rare 
photos. Each hand-signed by Walter. 

DEFOREST KELLEY: Full color and 
hand-signed! $6.00 

MOTHER): Full color and hand-signed! 


Compiled & Edited by 

Eddie Berganza & Daniel Dickholtz 

The Fan Network invites contributions 
from readers: photos, cartoons, convention 
and fanzine reports and news about fan organiza- 
tions and activities. No fiction or poetry- Nothing 
can be returned unless accompanied by a self- 
addressed, stamped envelope. Address all cor- 
respondence to: Daniel Dickholtz, STARLOG 
Fan Network, 475 Park Avenue South, New 
York, NY 10016. 


Have a question that you think STARLOG 
could answer? Ask it on a postcard only and we'll 
do our best. Mail to STARLOG Queries, 475 
Park Avenue South, NY, NY 10016. Note: there 
will be no personal replies. 

Eric A. Stillwell of Beverly Hills, CA in- 
forms us that there are indeed "Making of" 
featurettes for the first three Star Trek films, 
the existence of which was incorrectly denied 
in Queries, STARLOG #116. According to 
Stillwell, Gene Roddenberry used to show 
The Making of Star Trek: The Motion Pic- 
ture during his 1980 lecture tours. Other 
short films have made their way to cable 
TV. The Wrath of Khan has been screened 
on HBO and The Search for Spock was 
found on Leonard Nimoy's behind-the- 
scenes show for Nickelodeon Lights, 
Camera, Action. If the demand by the fans 
is there, perhaps Paramount Home Video 
will release them on cassette. 

Jerry M. Coner of Bluefield, WV responds 
to the call for the availability of Super- 
marionation programs on video with the 
following titles from Family Home Enter- 
tainment: Stingray, "The Incredible Voyages 
of Stingray" and "Invaders from the 
Deep"; Captain Scarlet, "Captain Scarlet 


As Obi-wan Kenobi pointed out, 
everything is true "from a certain 
point-of-view," and it certainly seemed true 
at the time of STARLOG #109 that it was all 
over for brave bands of rebel supporters 
everywhere. But our perspective has since 
changed, and it has become glaringly ap- 
parent that earlier reports of the death of 
Star Wars fandom have been greatly exag- 

Recently, Hibernation Sickness has 
broken out in the hills of Pennsylvania, in- 
fecting fans with the urge to send away for 
this "bi-monthly newsletter/minizine." In 
Houston, Texas, however, fans are more in- 
terested in discovering what lies Between the 
Mists and Stars, and while the Texan fan- 
zine covers Star Trek as well as Star Wars 
material, readers should take note of their 
"Nexus Cycle" storyline, which is set before 
the Empire's rise. 

Meanwhile, the European Star 
H'ars/Lucasfilm Fan Club, an organization 
with more than 400 members in Austria, 
Germany, Switzerland and the Netherlands, 
has plans to extend its sphere of influence 
and to intrigue enthusiasts worldwide in 
their quarterly fanzine Journal of the Whills 
as well at semi-annual conventions. Their 
allies in the Star Wars Fan Connection, 
operating out of Rebel Base Berlin, are join- 

ing in on this assault on the globe, making 
their quarterly newsletter and other items 
available to freedom fighters everywhere. 
Additionally, the groups stress that they 
have no desire to compete with any other 

vs. the Mysterions" and "Revenge of the 
Mysterions from Mars"; Thunderbirds, 
"Thunderbirds to the Rescue" and "Count- 
down to Disaster"; and Joe 90, "The 
Amazing Adventures of Joe 90." Space: 
1999 and UFO have also made their journey 
onto tape, but have proven difficult to find. 

Ask your local video retailer. 

Dan Alegre of Tucson, AZ asks: "What has 
happened to the Robotech movie?" 

Though it had been test released in Dallas, 
TX last year, the film is currently without 
distribution plans. 



Questions about the cons listed? 
Please send a self-addressed, 
stamped envelope to the address 
listed for the con. Conventioneers, 
please note: Send all pertinent info 
no later than 6 months prior to the 
event to STARLOG Convention 
Calendar, 475 Park Ave. South, 
New York. NY 10016. STARLOG 
makes no guarantees, due to space 
limitations, that your con will be 
listed here. This is a free service: to 
ensure a listing in the magazine, 
contact Connie Bartlett 
(212-689-2830) for classifed ad rates 
and advertise your con in the 
classified ad section, too. 



November 6-8 
Sheraton Beach Inn 
Virginia Beach, VA 

Sci Con 9 
P.O. Box 9434 
Hampton, VA 23670 


November 6-8 

Hyatt Regency Woodfield 

Schaumburg, IL 

Windycon XIV 

P.O. Box 432 

Chicago, IL 60690 

Guest: Jane Yofen 

BASH 87 

November 7-8 
Hyatt Regency Hotel 
Cambridge, MA 

Bash '87 

P.O. Box 6838 

Broad & Water Post Office 

Boston, MA 02102 


November 7-8 

Holiday inn Center City 

Philadelphia, PA 


249-04 Hillside Avenue 
Bellerose, NY 11426 
(718) 343-0202 


November 13-15 
Holidav Inn Westlake 
Cleveland, OH 

P.O. Box 5641 
Cleveland, OH 44101 
(216) 871-6000 
(216) 529-1940 


.November 14-15 
Hyatt San Jose 
San Jose, CA 



November 15 
HoEidav Inn 

Albany, NY 

FantaCo Enterprises, Inc. 

Attn: Tom Skulan 

2! Central Avenue 

Albany, NY 12210-1391 



November 27-29 
Clarion Hotel 
New Orleans, LA 


Convention Committee 

5200 Conti Street 

New Orleans, LA 70124 


November 27-29 
Marriott Park Central 
Dallas, TX 

Bulldog Productions 
P.O. Box 820488 
Dallas, TX 75382 
(214) 349-3367 




November 27-29 
Penta Hotel 
New York, NY 


Guests: Jane Badler, Michael 

Biehn, George Takei 


November 27-29 
Pasadena Hilton 
Pasadena, CA 

Los Angeles Science Fantasy 


U513 Burbank Boulevard 

North Hollywood, CA 91601 



December 4-6 
Holiday Inn Oceanside 
Ft. Lauderdale, FL 

So. Florida SF Society 

P.O. Box 70143 

Ft. Lauderdale, FL 33307 

clubs, but wish instead to act as a supple- 
ment, making American fans aware of their 
overseas allies' activities. And, of course, 
there is the newly revived official Lucasfilm 
Fan Club (announced in issue #120, with 
more news in an upcoming Fan Network). 
' Exciting? Heck, just look at the wild par- 

ly Carrie Fisher threw with character actor 
Mike Mazurki when she heard about the 
resurrection of Star Wars fandom! (All 
right, so it's really a scene from Amazon 
Women on the Moon, but she's still prob- 
ably worked up about the fan revival.) 


Between the Mists and Stars 

Amanda Killgore 
Excalibur Press 
1435 Sue Barnett 
Houston, TX 77018 

European Star Wars/Lucasfilm Fan Club 

c/o Robert Eiba 
Perzheimstr. 18 
8900 Augsburg 
West Germany 

Hibernation Sickness 

Barbara Gardner 
617 Virginia Road 
Saint Marys, PA 15857 

Star Wars Fan Connection 

Rebel Base Berlin 
Frank T. Bitternof 
Provinstr. 100, Qu 3 
D-1000 Berlin 51 
West Germany 

costs and the club's continued existence. 

American Hobbit Association publishes The 
Rivendell Review six times per year containing 
items of general interest to Tolkien fans. The 
association encourages the formation of chapters 
as well, and has 200 members. Membership is $4 
per year. Contact: Renee (Arwen) Alper, 730F 
Northland Road, Forest Park, OH 45240. 

The New England Tolkien Society Yearly dues: 
$5. Membership includes: subscriptions to 
Ravenhill, Laugh by Giggle and Mazar Balinu. 
The Society holds an annual meeting in the 
Boston area. Contact: Gary Hun- 
newell/Hildefons Took, 5611-B Ed-Lou Lane, St. 
Louis, MO 63128. 

The St. Louis Tolkien Society. Contact: John 
Houghton, 1181 Moorlands, 2N, St. Louis, MO 

The American Tolkien Society. Contact: P.O. 
Box 277, Union Lake, MI 48085 

Directory to SF & 
Fantasy Clubs 

Assembled by MIKE CLYER 

Please note: inclusion here does not nec- 
essarily indicate endorsement of any 
club by STARLOG. And STARLOG is not 

responsible for information or spelling er- 
rors in these listings or changes in member- 
ship fees and privileges. Always write 
first to any club, including a 
self-addressed, stamped en- 
velope (SASE) to confirm 
information, membership 

Cutter advises th 

you join the Elf quest club. 



January 1-3 

Airport Hilton & Towers 

Los Angeles, CA 

Universe '88 
P.O. Box 2577 
Anaheim, CA 92804 


January 22-24 
Landmark Hotel 
Metaire, LA 

New Orleans SF/Fantasy Festival 
P.O. Box 791089 
New Orleans, LA 70179-1089 
Guests: George R.R. Martin, 
George Aiec Effinger 

VULKON-1 (Trek) 

January 16-17 
Tampa Sheraton East 
Tampa, FL 

P.O. Box 786 
Hollvwood, FL 33022 
Guests: George Takei, Mark 


January 23-24 
Holiday Inn Calder 
Miami, FL 

Trekon '88 

1788 N.E. 163rd Streel 
N. Miami Beach, FL 33162 
(305) 940-9539 


January 29-31 

University of North Carolina 

Chapel Hill, NC 

ChimeraCon V 
15-A University Gardens 
Chapei Hill. NC 27514 
(919) 933-3003 


January 30-31 
P.O. Box 786 
Hollywood, FL 33022 
(3051 925-2539 
Guest: Mark Lenard 



February" 5-7 
Oceartside Holiday Inn 
Ft. Lauderdale, FL 


P.O. Box 161642 

Miami, FL 33116 

(305) 253-7270 


February 19-21 
Holiday Inn HI 
Madison, Wl 


P.O. Box 1624 

Madison, Wl 53701 

(608) 251-6226. (608) 2334)326 

Guesls: R.A. MacAvoy. George 

R.R. Martin 

TION 88 

February 26-28 
Ramada Inn 
Columbia, MO 

P.O. Box 7242 
Columbia, MO 65205 
Guests: Jerry Pournelle, Larry 


(Blake's 7) 

March 18-20 
Houston, TX 

Destiny Productions 
P.O. Box 1766 
Bellaire, TX 77401 
(713) 729-3368 


March 24-27 

MSC Cephied Variable 

College Station, TX 


Box J-l 

Memorial Student Center 

Texas A&M University 

College Station, TX 77844 


"STARLOG's Birthday Fantasy," 
a 15-minute 16mm color film, is 
available for screening at your con- 
vention, schools or club. 
Organizers, write for details: 
"STARLOG's Birthday Fantasy," 
475 Park Avenue South, NYC 
10016, or (England) contact Pamela 
Barnes, c/o Fanderson, P.O. Box 
308, London \V4 1DL. 

STARLOG/ 'December 1987 51 

International Elfquest Fan Club. At 5000 
members and growing, the club is for anyone in- 
terested in Elfquest in its many forms. Dues in 
North America are $10, everywhere else $20, for a 
lifetime membership. Membership includes: 
membership packet and a quarterly newsletter. 
Some individual chapters have meetings. Contact: 
Richard Pini, 5 Reno Rd., Poughkeepsie, NY 

National Elfquest Fan Club. Sanctioned by 
WaRP Graphics. The club is a correspondence 
group. For an $8 lifetime membership, you 
receive a quarterly newsletter from WaRP 
Graphics, artwork, letters, etc. Membership is at 
3000. Contact: Diana Stein, 1325 Key West, Troy, 
MI 48083. 

Crab Apple Tree Holt. Correspondence group 
affiliated with National Elfquest Fan club. 
Membership of $5 brings a quarterly newsletter. 
63 members. Contact: Ann "Sweetsong" Purtell, 
4633 N. Melvina, Chicago, IL 60630-3040. 

Great Water Holt. Sanctioned by WaRP 
Graphics. Correspondence group affiliated with 
the National Elfquest fan club. Publishes a bi- 
monthly newsletter, Questings, containing 
Elfquest-type illustrated stories. Contact: Liz 
Welsh, 320 Cownie Ave. SE, Palm Bay, FL 
32909. Subscription to Questings newsletter, $10 
per year. 

Eight-of-Dreams Holt. Correspondence group 
with 25 members, which requires prior member- 
ship in the Elfquest Fan Club. Contact: Valorie 
A. Hamm, Chieftess Dreamchant, 20101 Haynes 
St., Canoga Park, CA 91306-4223. 

Timberlake Holt. Sanctioned by WaRP 
Graphics. Correspondence group of 120 
members. Yearly dues: $6. Membership includes 
newsletter, published 10 times per year. Contact: 
Diana Stein, 1325 Key West, Troy, MI 48083. 

Fort Weyr. Correspondence group interested in 
the Dragonriders of Pern series by Anne McCaf- 
frey. Yearly dues: $9 includes their bi-monthly 
newsletter Harper Beat. The club, sanctioned by 
Anne McCaffrey, has 100 members. Contact: 
Jayne Moore, 922-S. Craig Ave., Evansville, IN 

The Dragon Society. Correspondence group of 
fans interested in dragons, gryphons, wyverns, 
cockatrices "and related critters!" Membership of 
$5 per year includes a quarterly newsletter and a 
membership certificate. The Society boasts 200 
members in its first two months of existence. Con- 
tact: Rosanne N. Allen, Dragon Master, 2430 
Juane Tabo NE Ste. 142, Albuquerque, NM 

The Official Dragalorn Fan Club. Dragalorn, a 
world created by award-winning fantasy artist 
P.D. Breeding, boasts its own fan club. Yearly 
dues: $5. Membership includes: newsletter, 
Dragalore, a signed art print, a memo pad and a 
membership card useful for a 10% discount on 
Breeding's art at conventions. Contact: P.O. Box 
63129, Wetmore, TX 78163. 

Although they're now more complete than they were for the filming of Logan's Run, 
the maze cars won't zip along monorails anymore, just through conventions. 


Logan's Run, one of the more thoughtful 
science-fiction films of the 1970s, raised 
many questions in the audience's minds: 
"Does life end at age 30?" "Have we lost 
the proper respect for the aged?" And 
perhaps, most importantly, "Whatever hap- 
pened to those neat maze cars?" 

Fan Network, with the aid of some Sand- 
men, tracked down the vehicles to Bill 
Blake. Years ago, Blake found his sanctuary 
in Hollywood, doing promotions for such 
genre productions as Logan's Run and the 
Planet of the Apes TV series. Fascinated by 
the concept and structure of the maze cars, 
Blake hoped to obtain them after their use 
in the film. But MGM, like any used car 
dealer, wanted an "unrealistically high" 
price, according to Blake. 

Only after they were damaged and worn 
down from use in other science-fiction 
movies, including Nightflyers (STARLOG 
#117), was Blake able to take possession of 
the vehicles. "I believe in the preservation of 
movie history," he proclaims. 

The maze cars, two full-scale models (one 
of which splits in half for close-up and in- 
terior shots) made from steel, fiberglass and 
plexiglass, ran Blake from an expected 
$4,000 or $5,000 job to an actual estimate of 
$10,000 due to the extensive damage and 
mileage put on during other productions. 
"They had been painted over," notes Blake. 

Bill Blake and partner Ray Woodfork (pic- 
tured) went to pieces salvaging what they 
could of the original maze cars. 

"Shelves had been put on them, there were 
holes from various other things that had 
been drilled into them. Before you know it, 
all of that stacks up." 

In order to refit the vehicles (which are ac- 
tually altered golf carts) to their original, 
authentic shape and color, Blake spent time 
in the Academy of Motion Pictures Arts and 
Sciences' library for documented 
photographs of the cars. He also obtained 
the help of Saul David, producer of Logan 's 
Run, for an accurate makeover. 

Reflecting on the movie itself, Blake 
thinks that Logan's Run received the short 
end of the stick when it came to popularity. 
"To many people," he observes, "Logan's 
Run has become the 'bastard child' of 
science fiction. It has gone largely forgotten, 
people forget that it was there before Star 
Wars. It started the 'kickoff of the large 
budget SF films of that era." 

The Logan's Run project is just one 
among many labors of love for Bill Blake. 
He enjoys science fiction tremendously and 
hopes to collect more obscure artifacts from 
Logan's Run and Planet of the Apes series". 
"I really hope to become the archivist of 
Logan's Run memorabilia and material," 
he says. 

When the maze cars are completed, Blake 
plans to rent them out to conventions. He 
also hopes to resurrect Logan 's Run fandom 
with life clocks, bumper stickers, tee-shirts 
and other souvenirs. However, as much fun 
as it will be for people looking forward to 
their taste of restored history, "It's not an 
amusement park ride or a freak show," says 
Blake, who is angered by other restoration 
mishandlings. "People who aren't in the in- 
dustry don't understand how the vehicles 
were used in production. They should be 
preserved in a way that people outside the 
entertainment field can get a better 
understanding and appreciation of how they 
were put on the screen." 

A 16mm documentary is also planned by 
Blake showing the maze cars' restoration 
process to accompany the cars' display at 
conventions. All this is in keeping with Bill 
Blake's theory that lost history is a greater 
evil than no history at all. 

— R.S. Sean O'Halloran 


The Galaxy Rangers had guts, but little 
glory. As creator Robert Mandell 
discussed in STARLOG #121, the lack ot an 
immediate toy deal robbed them or the 
media hype that projects with action figure 
tie-ins usually receive. By the time the 
STARLOG article appeared and Roy 
Rogers restaurants started giving away 
Galaxy Rangers merchandise, the cowboys 
had been almost run out of syndication by 
poor ratings. 

Now if you want to see the Rangers ride 
again, don't write us and don't write 
Transcom Media Inc., one of the show's 
pioducers. We can't put the program back 
on the air, only your local station can—// 
they see that there's a demand. Remember, 
it worked for Star Trek. So, here's a listing 
of all 67 markets in which the Adventures of 
the Galaxy Rangers has been sold. "They all 
have a three-year contract so they certainly 
can bring back the Rangers," adds Raissa 
Roque, director of Creative Services for 
Transcom, "if enough fans write." 

So, saddle up and write out. 



Although I he Galaxy Rangers were able to out-gun their foes, they suffered greatly in 
the ratings war. But you can help. 
























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Gerry Anderson's 

Speiee Police 

The supreme master of Supermarionation is 
back on duty. And his new beat is outer space. 

On a pleasant and sunny day, Gerry 
Anderson and his 'partner 
Christopher Burr arrived in Los 
Angeles along with hundreds of other 
visitors. Unlike them, the men weren't here 
to see Fantasyland — they were here to sell it, 
and they were carrying a million-dollar sam- 
ple of their fantasy in a briefcase. 

The fantasy is Space Police — a cross be- 
tween Hill Street Blues and Blade Runner, 
the latest science-fiction TV show from 

MIKE CLARK, senior STARLOC cor- 
respondent, examined Terrahawks in issue 

54 ST ARLOG/ December 1987 


Anderson and his imaginative team. It's a 
series that draws upon Anderson's past pro- 
ductions — Space: 1999, Thunderbirds and 
others. Yet Space Police— and Anderson's 
trip to LA— represents a radical departure 
from that past, too. "We vowed to make 
Space Police only for the American 
market," explains Anderson, "and only if 
we could do a deal with an American com- 
pany first." And so, Anderson and Burr set 
off in a rented car for Lotus-land, hoping to 
make their fantasy a reality. 

Space Police follows the adventures of a 
hard-boiled street cop, Lieutenant Pat 
Brogan. On loan to Precinct #44, a police 

station orbiting a distant planet in an 
unspecified future, he commands a crime- 
fighting crew of aliens. "Brogan comes 
from New York and finds that saying the 
names of the aliens on his force is like say- 
ing, 'Czechoslovakia' backward," explains 
Anderson, "so he just nicknames them 
Tom, Dick and Harry." Underneath these 
feline-looking creatures' extraterrestrial fur 
are personalities Brogan would find back 
home: Overweight Tom sports a knack for 
levitation; Dick, tall and lanky, is a dead-eye 
shot; Harry is a streetwise female. 

Rounding out the crew is "Bats," a 
batlike alien female with infrared vision, and 

SLOMO, a robot whose eyes are TV 
screens, providing the station's in-house in- 
formation center for police records (and the 
latest sports scores). Brogan's only human 
companion is Officer Cathy Costello, and 
she has something extra, too: skin that can 
metamorphosize into indestructible 

,Brogan and his officers patrol the east 
sector of Ultraville, a town much like his 
native Gotham: grimy, crowded and in- 
habited by all kinds of "alien" life, only 
Ultraville's aliens are from all parts of the 
galaxy. Flying black and white hovercrafts, 
the Space Police chase a gang of thugs as 
varied as the good guys. The pilot, for in- 
stance, involves the arrest of "Armpits," an 
octopus-like henchman of a local crime boss 
named V. Lann. Lann, a 400-pound baddie 
with tri-colored eyes, wants him back, and 
hijacks the World President's monorail car 
to persuade authorities to release Armpits. 
It's up to Brogan and his team to stop the 
monorail, defuse a hidden bomb somewhere 
on board, and save the President's life. 

It's an action/adventure pilot with a sense 
of police show parody — when Brogan cor- 
ners Armpits in an alley after a wild hover- 
craft chase, he draws his police special and 
orders, "Hands up!" A couple of oily green 
palms rise from behind a garbage-can bar- 
rier. Brogan isn't fooled. "OK. . .now the 
other pair!" Two more hands rise and then 
Armpits is taken into custody. Later in the 
episode, Dick faces a similar showdown 
when another alien raises four hands, and 
then catches the cop offguard by revealing 
another two! 

Partners in Crime 

Space Police is only the second product of 
the Anderson-Burr partnership. Anderson 
met Burr, a former newspaper publisher, 

The chief of Space Police, Gerry Anderson, 
is patrolling new frontiers with his cosmic 

during a mutual attempt to gain the televi- 
sion broadcast franchise of several British 
stations. In production, Anderson handles 
the line producing and creative aspects of 
the business; Burr takes care of financing, 
business affairs and the music. Their first 
collaboration was Terrahawks, and out of 
that experience, Space Police was born. 

Terrahawks was financed primarily by 
backers from Japan, where Anderson's ITC 
productions — both Supermarionation and 
live action — were extremely popular. But it's 
not easy to come home again, and times in 
the TV industry had changed. In the field he 
once dominated, Anderson's Terrahawks 
now had to compete against He-Man, 
Robotech and Voltron for the audience; the 
series was relegated to obscure time slots 
with little promotion. Too, the show's kid- 
oriented style didn't attract adult viewers, 
who made up a good portion of Anderson's 
audience in the past. On a Concorde flight 
back to England, Anderson and Burr realiz- 
ed that Terrahawks was not reaching its 
potential in the U.S. The cop show, on the 
other hand, was a successful staple of 
American television. Appropriately, on that 
supersonic flight, they hatched the idea for 
Space Police. 

Once the format of Space Police was 
established, Anderson wanted to sell it for 
the 6-8 p.m. time slot, to reach both children 
and adult audiences. American distributors, 
however, told him that anything with pup- 
pets is considered strictly for children. 
Anderson throws up his hands in disbelief. 
"Was E.T. considered a puppet film?" he 
asks, "or Gremlins! Then, we figured out 
that as long as full-sized actors were in 
costume, it wasn't considered a puppet 
show." Don't let Anderson catch you using 
the word "puppet" to describe his show's 
special effects. "'Puppets' means kid show 
to American distributors," says Anderson, 
"so we prefer the name Galactronics." 

Space Police was a departure from 
Anderson's past in many respects. First, it's 
neither live action nor Supermarionation, 
but a hybrid of the two styles. The word 
"Galactronics" was coined by Anderson 
and Burr, giving their process of combining 
live action and miniature photography an 
identity of its own, just as Supermarionation 
had done for Anderson's earlier marionette 
shows. Every full-sized alien character has 
several smaller-scale copies for use in filming 
with miniature sets. Combining live action 
and Galactronics provides the illusion of 
spacious action without the large costs. The 
duplicate characters range from 24 to 30 in- 
ches high, and are operated from below. In 
addition to the five police officers, the 
Galactronics unit supplied the World Presi- 
dent and his major domo, two villains 
(resembling Sidney Greenstreet and Peter 
Lorre), and the six-armed creature who 
assists the baddies in threatening the Presi- 
dent's life. Another Galactronics product is 
Megabyte, a robot dog in cahoots with the 

villains. Megabyte, a canine "Terminator," 
is the only character animated by stop- 

Anderson called upon the talented staff 
of the Supermarionation era to realize his vi- 
sion: Head writer Tony Barwick, who has 
worked for Anderson since the Thunder- 
birds days; art director Bob Bell, set 
designer for Fireball XLS, Thunderbirds 
and UFO; special effects cameraman Harry 
Oakes; lighting cameraman Paddy Seale; 
and Christine Glanville, a former Super- 
marionette operator and now a supervisor 
and operator on the Galactronics unit. In 
front of the camera, longtime Anderson 
associate' Shane (The Spy Who Loved Me) 
Rimmer (the voice of Thunderbirds' Scott 
Tracy) plays Lt. Brogan. Rimmer and the 
cast were directed by Bell's son Tony, a 
veteran Terrahawks director, with Steven 
Begg directing the special effects. 

Police Action 

Preparation and production of Space 
Police's pilot took 15 weeks at the old Bray 
Studios outside London (the same studio 
where Terrahawks lensed). For budgetary 
savings, principal photography was filmed 
in 16mm by Alan (Return of the Jedi) 
Hume. Like the marionette shows Anderson 
produced in the '60s, several units worked at 
the same time — live action, Galactronics 
and special effects. 

Live-action Space Police sets include the 
orbiting police station, interiors of squad 
cars, a section of the city, the World Presi- 
dent's office and private monorail. Optical 
effects added in post-production include 
matting previously filmed action onto the ci- 
ty's animated billboards, and rotoscoping 
animated blasts onto the various weapons 

For this henchman's appearance, 
Anderson's new Galactronics technique 
employs both full-size actors in costume 
and smaller replicas for miniature sets. 

SI AKhOG/ December 1987 55 

The Sidney Greenstreet-sounding heavy 
of Space Police is merely plotting to 
overthrow the World President. 

Lt. Pat Brogan (Shane Rimmer) is the hard- 
boiled cop in charge of a motley crew of 
alien policemen. His only human compan- 
ion is Officer Cathy Costello (Catherine 
Chevalier), and she is much more than 
what she seems. 

used by the police and their adversaries. The 
information on SLOMO's TV screens are 
also added at this point. 

Special effects provided the exterior of 
Precinct 44, squad cars, the city, and in the 
pilot, the World President's traveling estate 
and private monorail. The Anderson tradi- 
tion of filming miniatures, with no blue 
screen usage, was adhered to in Space 
Police. In an early scene from the pilot, 
Brogan 's cruiser is cut off by a speeding 
hover-car. With lights flashing and sirens 
blaring, a wild chase begins 20 stories above 
the street of Ultraville. The chase ends 
dramatically as the fleeing car slams into a 
ledge, careens through an animated 
billboard, and crash-lands on the street. 
Both horizontal and vertical guide wires 
streak the police craft and other vehicles 
through the city and space. Steven Begg's 
crew has its job cut out in hiding the wires, 
which tend to show up more on American 
standard television screens than on British. 
In-camera double exposures, pioneered- by 
Brian Johnson (STARLOG #111) on Space: 
1999, were used for the space sequences. 

Techniques for operating the aliens and 
regular characters took an immense amount 
of time to develop. Each full-sized Galac- 
tronics suit required an internal operator. 
"Also, each character has someone 
manipulating the eyes with cables, and a 
dresser to help the actor into the costume 
and arrange the breathing tubes," says 

The character's lines were recorded in ad- 
vance of shooting and played back on the 
set. The fiberglass head piece allows the 
operator's mouth to work the character's 
mouth, freeing up both hands for other 
duties. But working inside the full outfit car- 
ried its own problems. "We had to have a 
nurse on duty at all times, because the peo- 
ple are strapped into the masks, and should 
one panic or vomit, they would have to be 
pulled out very quickly," Anderson ex- 
plains. "The operators might inhale their 
own carbon dioxide or hyperventilate. But 
we had people within catching reach of the 
characters at all times. If an operator 
fainted, he could be blinded in the fall by his 
eye mechanism." 

Galactronics supervisor Christine Glan- 
ville played the character Tom. "The first 
time Christine wore the whole outfit," 
recalls Anderson, "she walked up some 
stairs to my office, and arrived exhausted. 
She couldn't talk! After a little practice, 
things got better and Christine was a Goliath 
on the set. She was the one who got it right 
every time, made the least fuss and lasted 
the longest." 

Christopher Burr composed and perform- 
ed all the music on Space Police, using the 
Fairlight Mark III computer. Burr is follow- 
ing in the footsteps of the late Barry Gray, 

Brogan's man, Tom, can levitate objects. 

which gave Anderson "a little trepidation," 
Burr says, "especially since I can't read or 
write music." The show's audience pro- 
bably won't notice Burr's shortcomings: 
The music is right in sync with the spirit of 
Space: 1999. 

Space Police is a departure from Ander- 
son's past in other ways. Previously, Ander- 
son left the sales of his programs up to Lew 
Grade, head of Independent Television Cor- 
poration. "Lew would take my idea, make a 
few calls to the U.S., get an initial reaction, 
and say, 'Go ahead,' " Anderson recalls. 

56 STARLOG /December 1987 

In space, emergency calls get answered by Precinct #44. 


► T" 

*> ,# J 

"We would be well into production before 
the first episode was completely edited and 
finished, maybe six episodes in the can, and 
then Lew would try and sell them." It was a 
system that worked well for Anderson, but 
Grade was long gone from the business 
when Anderson decided to return. 

It's up to Anderson and Burr to make the 
phone calls and sales pitches now, and like 
any good salesmen, they needed a sample. 
Anderson/Burr's resolve to correct their 
problems on Terrahawks resulted in self- 
financing the million-dollar-plus pilot of 
Space Police. 

"The real benefit of making a pilot." ex- 
plains Anderson, "is that before, the poten- 
tial buyer would say, 'Change this or that' 
and we would be well into production. 
Now, we can make the modifications and 
help the show's salability. * 

With the Space Police pilot completed in 
late 1986, Anderson and Burr planned a trip 
to Los Angeles in hopes of finding a backer. 
The two set up shop at a Beverly Hills hotel, 
spending two weeks screening the pilot for 
various distribution companies. "Reaction 
to the show was fantastic," enthuses Ander- 
son, "beyond our expectations. Of course, 
there are two kinds of reactions after a 
screening. One guy will say, 'Get two young 
sex symbols as the leads.' I've heard it over 
and over again through the years. Then, 
there's the more intelligent reaction, where 
the person stops to think for a minute, and 
offers his suggestions based upon all aspects 
of the show." 

"There will be some changes before Space 
Police becomes a series," adds Burr. 
"We've been told that we're already there if 
the children's market is what we're shooting 

for. If we want the more lucrative adult au- 
dience, we'll have to modify it." 

Anderson and his partner Burr held court 
in their Beverly Hills hotel room as prospec- 
tive buyers came and went. They traveled to 
several interested studios, and Anderson ex- 
plained for the umpteenth time what Space 
Police is about and could become. 

The team's effort paid off when an agree- 
ment for the series as a half-hour program 
was struck with Harmony Gold, the com- 
pany behind Robotech, and Anderson/Burr 
returned to England to refine their budget. 
Even with the firm 'go,' Space Police won't 
begin filming before this fall or winter, 
meaning the earliest release would be late 
1988. And there may be changes aplenty. 
But who cares? Once again, Gerry Ander- 
son is at the helm of a new science-fiction 
series. . .and that's good news. & 

SI AKLOG/ December 1987 57 

Joseph Barbera may just be smarter 
than your average animator. Here's a 
guy who has been working with part- 
ner William Hanna in the wonderful world 
of cartoons for more than 50 years. They 
started at MGM Studios in 1937, began their 
own studio 20 years later, sold that studio 
for millions in 1966, but maintained control 
over it. Now, in 1987, Hanna and Barbera, 
both 76 years old, are busier than ever, 
creating new characters, overseeing produc- 
tion on countless projects and bringing their 
animated abilities into new markets. 

"There is no final frontier for the art of 
animation," Barbera insists. "And there 
will always be a call for the sort of stuff we 

Barbera credits H-B's success over the 
years with a consistent wealth of creativity. 
"We're constantly coming up with new 
ideas," he announces. "Actually, we have 
introduced more longstanding characters to 
TV and movies than anyone. Anyone. 

"1 don't mean this to. sound offensive, 
but Disney has only come up with one 
memorable, longstanding character," 
Barbera maintains, "and that's Mickey 
Mouse. You can go on and on naming our 
star characters. Sure, Disney has lots of sup- 
porting characters, but we have thousands 
of them." 

While mainstays like the Flintstones and 
Yogi Bear have remained popular 
throughout the years, Barbera has recently 
noticed a surge of interest in some less visible 

Like Jonny Quest. 

Jonny Quest, (COMICS SCENE series 2 
#1), according to Barbera, was one of the 
most popular Hanna-Barbera programs of 
the 1960s and a syndication success story. 
But incredible interest in Quest has inspired 
H-B to produce 13 new half-hour episodes 
after 21 years of reruns. 

And writer/director Fred Dekker, whose 
credits include Night of the Creeps and The 
Monster Squad (FANGOR1A #66), hopes 
to direct a live-action Quest. Barbera admits 
he has discussed the possibilities with United 
Artists, but nothing has been set yet. 

"All aspects of Jonny Quest are 
excellent," Barbera says. "The cult keeps 
growing. 1 would say Jonny Quest has 
equalled The Jetsons in popularity." 

Films like Raiders of the Lost Ark and 
Romancing the Stone have helped hype 
awareness of the adventure genre and in- 
terest in Jonny Quest. Barbera is also quick 
to point out that Jonny came first, "long 
before Indiana Jones was a twinkle in 
George Lucas' eye." 

And he admits, while Jonny Quest has 
essentially remained true to its original in- 
carnation, there have been changes in the 
adventure series. For one thing, new gadgets 
and weapons have been introduced. There's 
now more attention being paid to "neater 
things" like hi-tech airplanes and sea- 

1RVSLIFKIN, Philadelphia-based writer, is 
associate editor of Home Viewer magazine. 
He profiled Karen Allen in STARLOG 


The wonderful 
world of 



skimmers which can turn into wheeled jeep- 
like vehicles on land and zip through forests 
at 80 MPH. 

Animal Flickers 

Meanwhile, for a new batch of feature- 
length animated films, H-B is focusing on 
their most popular creations. Nearing com- 
pletion are The Good, the Bad and 
Huckleberry Hound, Top Cat and the 
Beverly Hills Cats, The Jetsons Meet the 
Flintstones and Yogi Bear and the Magical 
Flight of the Spruce Goose. "You should 
see what happens when we get that bear up 
on that plane," Barbera enthuses. 

Hoping for theatrical release of these 
features, Barbera expects syndication and 
home video release to follow. This route 
isn't an easy one these days, according to 
Barbera. Theatrical release is a very iffy and 
very costly proposition for animated 
features. Hanna-Barbera has seen great past 
success in theaters with A Man Called Flint- 
stone, Heidi's Song and Hey There, It's 
Yogi Bear, which was re-released theatrically 
last year. The company has since acquired 
"a beautiful animated film from Europe 
called Forever Like a Rose," notes Barbera. 

A veteran animation 

producer recalls his 

decades of leading 

the Jetsons, Jonny 

Quest, the Flintstones 

& other unforgettable 

characters into 

cartoon adventure. 

Despite Hanna-Barbera's worldwide suc- 
cess, Joseph Barbera admits that it is still 
difficult for them to get new animated pro- 
jects off the ground. 

"We rescored it, did a great deal of work 
with it, but nobody wants to take it." He 
says H-B has shopped it to theatrical 
distributors and networks, and while there's 
much admiration for the project, there's lit- 
tle interest. 

Barbera keeps tabs on other animator?' 
theatrical moves. Don Bluth's An American 
Tail (STARLOG #114) was a recent hit. 
"The critics liked it," Barbera says. "It did 
well and I'm certainly happy for Don. And 
I'm happy to see animation do so well." 

He also thinks highly of Ralph Bakshi, 
who made the animated films Fritz the Cat, 
IVizards and Lord of the Rings, but 
wonders where Bakshi can go next. "I 
recently talked to Ralph Bakshi [STARLOG 
#10, 19]," Barbera says, "and he admits, 
and 1 agree, that he had a full shot at what 
he wanted to do. Unfortunately, not too 
many of his projects worked out as he had 
planned. [Bakshi is now producing a new 
Mighty Mouse TV series]. 

"It's tough to do the full-length, 
sophisticated animated stuff. And it will on- 
ly find a cult audience. It may make $12 
million, while Crocodile Dundee makes 
$150 million." 

With home video, Barbera may have 
found a market suited to some of H-B's 
more experimental projects. More than a 
year ago, H-B released a six-part series call- 
ed Hanna-Barbera's The Greatest Adven- 
ture: Stories From The Bible. It was 
something Barbera had wanted to do for 17 
years, but the idea had been met with cold 
shoulders from networks and H-B itself. 
With a burgeoning video market, Barbera 
finally persuaded his associates to go ahead 
with the project. 

The 30-minute tapes relate such bible 
stories as "Noah's Ark," "Moses," "Sam- 
son and Delilah" and "David and Goliath." 
Ed Asner, James Earl Jones, James Whit- 
more and others supply the voices. 

"Who can beat the stories we have?" says 
Barbera. "We have the parting of the Red 
Sea, the plagues, people thrown to the lions. 
We have Goliath, a tremendous giant who 
makes He-Man look like a wimp. You don't 
see kids reading anymore, especially these 
Bible stories. We wanted to remind them 
that these are some of the best characters 
and stories ever. 

"If these tapes weren't on the market, 
kids would be watching another Saturday 
morning animated series on TV. But I think 
we've managed to combine the best stories 
with morals and messages that are 
somewhat subliminal." 

cat & Mouse Games 

Barbera's career began in the late 30s 
when he moved from his hometown of 
Brooklyn to Hollywood. He got a job at 
MGM, where he met young partner-to-be 
William Hanna. The two began working on 
Tom and Jerry cartoons, eventually winning 

58 STARLOG/December 1987 


seven Oscars. But in 1957, Tom and Jerry 
were put on indefinite hiatus, and Hanna 
and Barbera were out of work. 

So, they scraped together their savings 
and started their own company geared 
towards TV. With limited funds at their 
disposal, they decided to use cheaper, 
limited animation — animation that relied on 
fewer drawings and less motion. Their first 
series was Ruff and Ready, a dog and cat 
tale with a zippy theme song. The H-B 
limited animation endeavors lacked the 
fluidity of Tom and Jerry, but the cheaper 
process allowed for quicker production 

Television was quick to welcome pro- 
gramming the entire family could enjoy, and 
Huckleberry Hound and Yogi Bear follow- 

Soon he'll be starring 
in Yogi Bear and the 
Magical Flight of the 
Spruce Goose, but 
what this bear really 
wants to do is 

Using their unique powers. The Herculoids 
defended their planet from invaders. 

William Hanna (white hair) 
and Joseph Barbera 
celebrate 50 years of 
creativity ,with their 
classic characters. 









Q Oi 

ed on the paws of Ruff and Ready in 1960. 
Later that year, H-B broke new ground by 
producing the Honeymooners-inspired pro- 
gram, The Flintstones, the first animated 
show broadcast during primetime. The 
primetime trend continued with Top Cat in 
1961, The Jetsons in 1962 and Jonny Quest 
in 1964. Meanwhile, Hanna-Barbera crank- 
ed out hours of animated series for Saturday 
morning TV. 

Today, Hanna-Barbera is an international 
company with studios in Hollywood, Taipei 
and Australia. Barbera boasts that H-B 
employs 2,000 people around the world. But 
despite that success, Barbera claims that get- 
ting new projects off the ground is still dif- 
ficult for animators in this country. 

"Here, animators are not treated with 
respect," he says. "In Europe, they are 
honored and considered important film- 
makers. Here, you go to a network and 
pitch them an idea and they forget about 
The Flintstones or The Jetsons being on 
prime time. One of the problems is that 
there's such a turnover at the studios and 
networks that you have to make new rela- 
tionships with new executives all the time." 

Similar problems have affected the live- 
action film versions of The Flintstones and 
The Jetsons which have been in develop- 
ment for some time now. There have been 
scripts for both projects, Barbera says, but 
internal problems at studios and with pro- 
duction companies have held them up. Still, 
Barbera is hopeful that both projects will 
start shooting by year's end. 

The Flintstones was written by 
Steven de Souza, who co-scripted 
48 HRS., Commando and 
The Running Man (see 
page 36). "There has 
been talk about Jim 
Belushi playing Fred," 
Barbera notes. 

the resurgence 
of old Hanna- 
Barbera characters, 
Space Ghost will 
soon materialize in 
his own comic book 
series from Comico. 

"Long before Indiana Jones was a twinkle 
in George Lucas' eye," says Barbera, there 
was Jonny Quest and his band. 

Rick Moranis (as Barney Rubble) and Jon 
Lovitz may also be in the film. 

As for The Jetsons, Barbera only com- 
ments, "It's at Paramount." And discus- 
sions about casting Chevy Chase as George 
Jetson and Goldie Hawn as Jane, his wife, 
are indeed true. But for now, everything he 
says, "is on hold." 

Of course, neither Barbera nor Hanna are 
terribly disappointed. They continue to find 
new adventures to keep them busy and to 
keep kids of all ages happy. 

How does Joseph Barbera view his 50 
years as a cartoon crown prince? 

'I'll tell you a little story," he responds. 
"On Sundays, since I was a little kid in 
knee-highs, I remember the Sunday paper 
had the comic strips on the outside, the first 
thing everybody read when they got the 
paper. Seven out of 10 people still read the 
comics first. This need has not gone away. 

"Animation is a relief from what's going 
on in the world. You get up in the morning 
and turn on the radio and you hear a bridge 
goes out in Albany, a bomb has exploded 
here and there's a flood on the East Coast. 
Then, you turn on the TV and see it all 
visualized. In living color, no less. Where's 
the relief? 

"That's what we do: Provide relief in fan- 
tasy product. It's important to make people 
forget what's really happening." 




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■ ■ 



All the excitement of the legen- 
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Geoffrey Mandel, author of the 
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Star Trek Crew 
Michael Biehn 
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40. Vol. 1 

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Neil Norman and his 
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41. Greatest SF Hits, Vol. I 

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ver since the late 1960s, Hollywood 
has been giving the Devil his due. 
From Rosemary's Baby to The Exor- 
cist and on through The Witches of 
Eastwick, the accent has been on evil. 
Witches, warlocks, malevolent spirits, and 
even Old Scratch himself have figured pro- 
minently in the cinematic hellstorm. 

Writer/director Tom McLoughlin has 
decided to buck the trend and give the 
upstairs office some equal time. The result is 
Date with an Angel, a romantic fantasy 
comedy currently lensing in Wilmington, 
North Carolina. Angel toplines Michael 
Knight, Phoebe (Gremlins) Cates 
(STARLOG #84), and French import Em- 
manuelle Beart in the title role. Of the trio, 
Cates is the best-known to American movie 
audiences, but Knight garnered a con- 
siderable following as Tad Martin in the 
ABC soap All My Children. Beart, mean- 
while, is one of Europe's hottest young ac- 
tresses. She recently won the coveted Cesar 
Award (France's equivalent of the Oscar) 
for her role in Manon des Sources. 

Behind the camera, Tom McLoughlin not 
only penned this fantasy but is handling the 
directorial chores. The elaborate FX are be- 
ing devised by a team of experts under the 
direction of Richard (The Boy Who Could 
Fly) Edlund (STARLOG #111). 

Although firmly rooted in the '80s, Date 
with an Angel is old-fashioned at heart, a 
comedy in the mold of such classics as Here 
Comes Mr. Jordan and Stairway to Heaven. 
The screenplay spins a tale of an Angel 
(Beart) who injures herself when she collides 
with a satellite in orbit over Earth. After this 
unfortunate "close encounter," she plum- 
mets to Earth and splashes down in the 
swimming pool of Jim Sanders (Knight). 

Jim is an unhappy young man, a free 
spirit out of step with the success-oriented 
'80s. He wanted to be a composer, but ekes 
out a living teaching music. Even his engage- 
ment to Patty Winston (Cates) is a mixed 
blessing. Patty's father (David Dukes) is 
wealthy and domineering, a man who at- 
tempts to manipulate his future son-in-law 
at every turn. 

Enter the Angel. Jim fishes her out of his 
pool, then realizes what she is when her 
wings don't come off. Undaunted, he nurses 
the fallen seraph back to health and fights a 
losing battle to keep her presence a secret. 
Comedic complications occur when Patty 
thinks Jim is cheating on her. And when Jim 
does in fact begin to fall in love with his 
heavenly house guest, the picture focuses on 
the romantic triangle of Jim, Patty and the 

Never mind the plot; that Angel is being 
produced at all is the real miracle. 
McLoughlin first wrote the story back in 
1981, but found little interest when he tried 
to peddle the piece. Producing an old- 
fashioned fantasy in the age of Rambo 
seemed the height of folly, and "heavenly 
bombs" like Two of a Kind s,eemed to 
underscore this conventional wisdom. But 

its Heaven on Earth as an average guv falls 
in love with the celestial beauty who splash- 
lands in his swimming pool. 

SI AKhOG/ December 1987 65 


■- \ 


Would-be composer Jim (Michael Knight) finds his engagement to Patty (Phoebe 
Cates, far left) tested by an Angel (Emmanuelle Beart). 

after five years of rejections, De Laurentiis 
Entertainment Group producer Martha 
Schumacher read the script, liked what she 
saw, and gave the project a go-ahead. 

Heavenly Forest 

The Angel company have set up offices 
on the DEG studio lot in Wilmington, a 
sprawling complex that boasts an array of 
soundstages and production facilities. 
Though the film is a fantasy with com- 
plicated FX, McLoughlin was determined 
that Angel not be studio-bound. Extensive 
use is being made of real locations in and 
around Wilmington itself. 

"Originally, I was looking for a town in 
New England," McLoughlin confesses, 
"because my story is very Norman 
Rockwellesque. I wanted a slice 'of small- 
town America, with brick houses and warm, 
mellow tones. Wilmington suits me perfect- 
ly; it has a 'been around a long time' feeling 
to it which I like." 

The Angel company is also making good 
use of the backlot facilities at DEG. Prob- 
ably the biggest set in the picture is the "En- 
chanted Forest" now being created on 
Soundstage 4. 

The soundstage is the biggest on the lot, 
yet every inch of its cavernous 100 x 
200-foot dimensions are being utilized. An 
eight-foot-high bulkhead rings the sound- 
stage's interior, filled to the top with soil. 

Right now, bulldozers are shoving this earth 
about, shaping and contouring the dirt, 
both to give a rough approximation of 
nature and provide a solid base for the trees 
being planted there. Most of the trees are 
already in position, and the odor of damp 
soil pervades the set. 

"When we're finished, we'll have 50 trees 
on the set," notes production designer Craig 
Stearns. "Several species are represented, in- 
cluding oak, pine and cypress." 

A touch of whimsy was needed, so the 
filmmakers produced four full-scale fantasy 
trees, each constructed out of fiberglass. 
"The four artificial trees are composites," 
explains Stearns, "since they combine the 
roots of a cypress with the massive trunk of 
a redwood." High above the hard-packed 
earth, well beyond the reach of the tallest 
trees (average height: 30 feet), a black metal 
beam snakes its way through the roof sup- 
ports of the monumental soundstage. The 
beam is really a track, part of Richard 
Edlund's ingenious flight system for the 
Angel. Beart will be attached to the track by 
means of a special harness rig. Moving along 
the track, the rig will operate a little like a ski 
lift, fostering the illusion of an angel flirting 
and darting through the treetops. 

Today's concerns are more down-to- 
earth. The Angel company are setting up at 
the Bonham Apartments, a two-story brick 
dwelling located on a quiet tree-lined street 

in residential Wilmington. The apartment 
house is impersonating Jim's place. 

A bright red Corvette is parked outside 
the apartments, a low-slung streamlined 
vehicle that sports license plates which read 
"PATTYCAT." The driveway around the 
car is filled with crew people. Giant reflec- 
tors are being moved into position, and light 
meters are constantly checked as the after- 
noon sun inches closer to the horizon. 

Angel in the Flesh 

While crew members scurry about, Em- 
manuelle Beart stops by to talk about her 
role. Since she's in full costume (sans 
wings), the French actress settles gently onto 
a couch inside the apartments, taking great 

66 ST ARLOG/ December 1987 

care not to wrinkle her "angelic" get-up, a 
long white robe now partly covered by an 
apron to protect it from dirt between takes. 

Asked if this robe is the first worn, the 
one "straight from heaven," Beart replies 
with a deadpan face, "No, it's straight from 
the DEG wardrobe department!" Pleased 
that she made a joke in English, Beart 
breaks out in a broad grin. 

The Gallic beauty says she is fascinated by 
the film's blend of fantasy and romance. 
"In France," she suggests, "we are more 
concerned with reality, and with the dark 
sides of life. To be honest, I don't think a 
movie like this one would be shot in France. 
Americans like to dream more, and so like 
fantasy. Yet, it's those very elements in the 
script that attracted me to the part." 

Beart explains she has virtually no 
dialogue in the movie. Instead, the Angel ex- 
presses herself non-verbally, often emitting 
little squeaks and purrs to show her emo- 
tional state. The no-dialogue ruling has 
nothing to do with Beart, who speaks ex- 
cellent English, albeit with a French accent. 
Long before she was cast, McLoughlin 
thought a mute angel would heighten the 

Phoebe Cates gets spiritual guidance from 

writer/director Tom McLoughlin on how to 

deal with boy friend-stealing seraphim. 

story's celestial quality. 

Of the film's many elements, it's the 
romance that most attracts Beart. "It's a 
love story," she insists, "because when the 
Angel hurts her wing, she is forced to re- 
main on Earth for a few days. The longer 
she stays, the more human she becomes, and 
gradually she falls in love with Jim." 

Moments later, a gofer pops in and in- 
forms Beart she's needed on the set. The up- 
coming scene will feature all three prin- 
cipals: Beart, Cates and Knight. In the 
script, when Cates learns Knight has a 
female house guest, her jealousy knows no 
bounds. Catching him red-handed with (she 
thinks) another woman, Cates administers a 
thorough tongue-lashing, then stQrms out of 

The Angel (Beart) finds that spending time with humans can truly be hell on Earth. 

the apartment. Knight runs after her in a 
last-ditch effort to save their relationship, 
and the final confrontation takes place 
beside the shiny red Corvette. 

After a half-hour of rehearsals, director 
McLoughlin calls for a take. Cates listens 
impatiently while Knight vainly tries to ex- 
plain his lovely visitor. Unconvinced, Cates 
starts yelling at Knight, and he is visibly 
wilting under the verbal drubbing. Amid the 
fireworks, Beart stands enveloped in a 
multi-colored quilt, her wings hidden from 
prying eyes. 

Dark eyes blazing with fury, Cates sud- 
denly turns on her heel and stomps off. 
Knight claws at Cates' arm in an effort to 
stop her, but she wrenches free and con- 
tinues on her way. 

"Wait!" he demands, but Cates turns a 
deaf ear to his petition. "I can't believe you 
would do this!" Cates cries, a rising note of 
indignation in her voice. She jumps into the 
car, turns on the ignition and screeches away 
in a cloud of dust and burning rubber. 

A forelorn and disheveled figure, Knight 
stands in the driveway watching the depart- 
ing car until it's a red blur on the horizon. 
He turns to find his heavenly visitor 
silhouetted against the open doorway of his 
apartment. Now, it's his turn to become 
unglued, and he shouts for the Angel to get 
inside. She hastens to comply, but in so do- 
ing, trips (on cue) on a corner of her blanket 
and collapses with a painful "squeak." 

Suddenly contrite, Knight cradles her in 
his arms, only to find a smiling seraph in- 
stead of an injured Angel. She's not hurt 
after all, and giggles at his puzzlement. 

"Cut!" McLoughlin cries. "Let's do 
another!" In short order, the actors 
reassemble, hit their marks, then wait for 
the clapperboard to descend on another 
take. McLoughlin calls "Action!" Scene 45, 
Take 2 is soon over, quickly followed by 
Takes 3, 4, 5 and 6. By Take 7, crew people 
are exchanging worried glances. One grip 
put his finger on the problem — "We're los- 
ing the light!" The shadows are lengthening, 
and the sun is lowering closer to the 
treetops. Another hour more, and it will be 

impossible to match the shot with the se- 
quence's opening segments. 

The potential crisis is averted when 
McLoughlin expresses satisfaction with the 
last take. The relieved company can now 
wrap at this location and journey on to 
another house to shoot some interiors. 

Released at last, Michael Knight ascends 
to the second floor of the apartment, finds 
an old folding chair, then sinks into it with a 
look of obvious pleasure. 

"Phoebe's one tough broadl" Knight ex- 
claims in mock terror, referring to the argu- 
ment scene just completed. "I'm glad that's 
over!" The handsome, square-jawed actor 
is a film neophyte, and Angel marks his 
screen debut in a lead role. He says he has 
been in a movie before but declines to name 
the picture because "if you blink your eyes, 
you'll miss me." 

"Since this is my first lead in a movie," he 
admits, "I've had to learn as I go along. I'm 
used to daytime television, where we can do 
84 pages of a script a day, so there's not 
much time to fine-tune things. Here on a 
feature film, you have the luxury of time, 
yet you also have the curse of fragmenta- 
tion — of doing a scene in little pieces as you 
go along. Why, you might find yourself do- 
ing a 10-second piece of the story! When 
you do so many takes in so many fragments, 
it's hard to remember the plot as a whole, 
and how the scene you're doing fits in." 

Knight takes a detached view of the 
movie's FX, saying his role is passive in that 
regard. "Actually," he muses, "you could 
say there's only one special effect— the 
wings. We haven't shot the major sequences 
with them yet. So far, my main contribution 
has been to merely react to them." 

But despite the cold and the occasional 
discomforts, Michael Knight declares he's 
happy to be in an upbeat movie. "After 
all," he says, "one of the chief messages of 
the film is that nice guys sometimes finish 
first." % 

ERIC NIDEROST is a contributing editor 
to Military History and World War II. He 
profiled Nancy Allen in STARLOG #123. 

ST ARLOG/ December 1987 67 


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Take command of a Klingon battlecruiser, Romulan warbird, or Gorn raider and pit yourself against the mighty 
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man has gone before". If you're going to start a galactic war, why not go all the way and include some of the FASA Star 
Trek Starship Miniatures, winners of both the 1985 and 1986 H.G. Wells Awards for best miniatures. 



The Star Trek IV Sourcebook contains detailed informa- 
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The Star Trek IV Sourcebook is a must for the serious 
fan/gamer who wants to keep up with the ever-changing 
universe of Star Trek. (2224) 

Send check or money order to: 

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Star Trek is a registered trademark of Paramount Pictures Corporation 
Copyright • 1986 Paramount Pictures Corporation 
All Rights Reserved. 

(Please Print) 



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USS Excelsior (Battleship, ST III) 
Klingon L-42 Bird of Prey (Frigate, ST III) 
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(continued from page 35) 

the Alien ... I think that's clear. They're 
just trying to make a living, same as us. It's 
not their fault that they happen to be 
disgusting parasitical predators, any more 
than a black widow spider or a cobra can be 
blamed for its biological nature. 

David R. Larson makes some interesting 
comments and yes, the design of the "war- 
rior" adult was altered slightly. His rationale 
for this is as good as mine (that the in- 
dividual in ALIEN never reached maturity). 
Daniel Line asks more questions about 
the derelict which, as a writer, I could pro- 
vide plausible answers for, but they're no 
more valid than anyone else's. Clearly, the 
dental patient was a sole crew member on a 
one-man ship. Perhaps his homeworld did 
know of his demise, but felt it was pointless 
to rescue a doomed person. Perhaps he was 
a volunteer or a draftee on the hazardous 
mission of bio-isolating these organisms. 
Perhaps he was a military pilot, delivering 
the alien eggs as a bio-weapon in some an- 
cient interstellar war humans know nothing 
of, and got infected inadvertently. "How 
could the man who went onto the derelict 
not know something was wrong when he 
saw the dead gunner?" Well, Dallas, Kane 
and Lambert saw the dead gunner and that 
didn't stop them. Human curiosity is a 
powerful force. As for the equipment left 
behind by the Nostromo crew being a deter- 
rent, this requires that Jorden and the other 
colonists enter the derelict through the 
Freudian main door. In ALIENS (long ver- 
sion), they enter through a large rent in the 
hull caused by damage from the lava flow, 
going directly into the egg chamber level. 

Abbas Rezvi takes exception to Ripley's 
ease of adjustment to 57 years of 
technological change. First of all, ask 
yourself if an intelligent and willful person 
from 1930 could or could not adapt to the 
technology of 1987, given a few months of 
training. They had automobiles (including 
traffic jams), machine guns and airplanes 
then, only the specifics are different now. 
Conversely, however, who could have 
dreamed of the impact of computers and 
video on our current environment? A se- 
cond point is that there have been 57-year 
periods in history where little or no social or 
technological change took place, due to 
religious repression, war, plague or other 
factors. Perhaps technology had topped out 
or plateaued before the Nostromo's flight, 
and the changes upon Ripley's return were 
not great. You decide. It doesn't bother 
Ripley, and it doesn't bother me. 

I hope this answers a few of your readers' 
concerns. I would like to thank STARLOG 
for its support of our film through articles 
("Viva Vasquez"), movie books, etc. We'll 
keep you posted on upcoming projects, 
several of which are science fiction. 

By the way, it's not in the goddamed cat 
and it's not in Newt, either. I would never 
be that cruel. & 


(continued from page 15) 

as expected. It's quite a story, which I shall 
tell at a later time. 

"That experience was the reason I stop- 
ped making movies for the Hollywood 
studios. I won't work for them again. I 
think Big Trouble is a wonderful film, and 
I'm very proud of it. But the reception it 
received, and the reasons for that reception, 
were too much for me to deal with. I'm too 
old for that sort of bullshit." 

Despite his disappointment, Carpenter 
was pleased to find that Big Trouble's fate 
had no irrevocably negative impact on the 
continuing demand for his directorial 
talents. "I always get offers," he asserts. 
"My agent told me: 'You're going to work 
for as long as you want.' They were terrible 
movies, mind you, but I knew I could go 
back to work. In fact, I haven't stopped 
working since 1978. 

"I've always had something to do. I'm 
very grateful for that. I'm flattered that I'm 
paid so much money to make movies. It 
means a lot to me. I finally realized that con- 
tinuing to make movies means more to me 
than being some big Hollywood success. 

"I suppose that's one of my problems. 
I've never been able to 'go Hollywood.' 
Consequently, I've never been able to mar- 
shal the resources you need to play the game 
successfully. Steven Spielberg, for example, 
is an expert at playing the game. Not only is 
he a talented storyteller and filmmaker, but 
he's a masterful power broker. I don't have 
that kind of personality. I have a need for a 
normal personal life. I need to be around 
normal people. That means I'm the one who 
is different. Therefore, I shouldn't play a 
game in which I don't like the rules." 

Determined to maintain his own stan- 
dards of filmmaking excellence, in the face 
of audience apathy and industry indif- 
ference, John Carpenter has accomplished 
what only a few creative people ever 
achieve. Through his remarkable arrange- 
ment with Alive Films, he has erected his 
own artistic arena — in which he can play his 
own game, according to his own set of rules. 
Reassessing his personal and professional 
needs and desires, he has emerged enriched 
from his latest painful — albeit worth- 
while — learning experience. 

"When I was younger — from my late 
teens to my early thirties — I thought I knew 
what the world was all about," he reflects. 
"Then, I discovered what it was really all 
about. It didn't change anything. I'm just 
older, and more mature. Success and failure 
have a different meaning to me now. I 
realize that everything I hoped for as a kid is 
no longer possible. I have to learn to live 
with who I am. I must accept my limita- 

"But it's good to reevaluate your posi- 
tion. It has been coming on for several 
years. I wasn't real happy about many 
aspects of my life — but I'm much happier 
now." i% 

Running Man 

(continued from page 39) 

II, which will once again reteam de Souza 
and Schwarzenegger. 

"Commando II takes place entirely in 
LA," reveals the screenwriter. "It's a very 
urban story, it's not going to have huge ar- 
mies. It'll be more like a thriller than a war 
movie. One of the things I'm going to have 
fun dealing with is the notoriety. It's in- 
evitable that if you believe Commando real- 
ly happened, the character would have 15 
minutes in the spotlight, as the late Andy 
Warhol would say. The movie begins with 
Colonel Matrix [Schwarzenegger] discover- 
ing that he is momentarily notorious. 
Because of this, he gets a job running securi- 
ty for a big international conglomerate. My 
whole feeling is that if we're going to do a 
sequel, let's not have him rejoin the service. 
He's going to be in the private sector. 

"It's more like a James Bond movie, an 
adventure about a guy who is now a highly 
trained civilian with a military background. 
It all takes place in a very compressed time 
frame. Rae Dawn Chong is back, and she's 
a lawyer this time. Arnold's schedule is so 
booked that Commando //won't be filmed 
until next spring, so it won't be released un- 
til October '88. 

"I swear to God," de Souza laughs, "I 
could die tomorrow and nobody would 
know until 1990." 

Moving back to television, he has just 
signed a two-year contract with producer 
Chuck (The Martian Chronicles) Fries. 

"Chuck wants to get into television in a 
big way," de Souza admits, "and I'll be the 
executive producer of everything I do. I'll be 
able to do anything I want, if Chuck likes it. 
In TV, that's about as much authority as 
you can get. I know I'll be doing a number 
of SF projects with him, because that's the 
first thing that comes to mind — science fic- 
tion and crime. That's what I read behind 
my algebra book. There was either a rocket- 
ship or a gun on the cover. Sometimes 

Despite this wide diversity of projects, it is 
The Running Man which beckons most with 
its imminent release and promise of continu- 
ing de Souza's fascination with comic-book 
adventures laced with gritty realism. 

"The Running Man is definitely a mix of 
humor, violence and horror," he concludes. 
"There are elements in the picture that are 
horrible and gruesome, although not 
gratuitously so. Many times when you're 
editing, you say, 'Oh man, you can't cut 
from the bad guy to this funny part.' 
Sometimes, though, the juxtaposition of the 
two can create a real visceral feeling, making 
the movie more powerful. Nobody does it 
better than, say, John Carpenter or Alfred 
Hitchcock. You look at some of their best 
pictures and there are some very funny 
things in them. The contrast with the more 
morbid aspects somehow sharpens both. It's 
like a good recipe. The right ingredients in a 
dish complement each other." i? 


For as little as S33, you can reach over one million SF fans, comprising the largest HEADLINE: 

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Join us for this year's screening of the 

science fiction, horror and fantasy winners, as 

part of the finale to the Thanksgiving Weekend 

Creation Convention in New York City. Awards 

presentation follows with celebrity guests. 

SUNDAY, NOV. 29th 

3:00 to 5:00 p.m. 

Grand Ballroom of the 

Penta Hotel, 8th Ave. & 32nd St. 

(tickets available at door, 
or call 1-516-SHOWMAN) 


(continued from page 32) 

"It's very hard to find someone who's 
really beautiful who at the same time can 
play comedy and who has a British accent," 
Seheinman explains. 

They finally found Robin Wright, a 
former model and a regular on the soap 
opera Santa Barbara whom Seheinman 
describes as "undoubtedly the beautiful girl 
needed for the part." Although Texas born, 
Wright quickly proved she could handle the 
accent without any problems. 

"Several people who have seen the film 
have called me and asked if Robin can do an 
American accent," Seheinman says. 

With cast and script finally set, Reiner 
and Seheinman set off to England to start 
shooting in Haddon Hall, a castle originally 
built by William the Conqueror, and at 
other locations in England and Ireland. 
Although this film is far more expensive and 
complex than anything Reiner and Sehein- 
man had done before, the filming itself was 
relatively easy. 

"In some ways, it's harder to make a $3 
million movie than a $17 million movie," 
Seheinman says. "The logistics were far 
more complicated than any other picture I 
had worked on, but that was a challenge. It 
was sometimes very difficult, sometimes ex- 
citing, and overall very enjoyable." 

But the logistics of shooting may turn out 
to be a cinch compared to the logistics of 
marketing what everyone concedes will be a 
hard sell. 

"This isn't an easy film to sell," Sehein- 
man observes. "But then, it wasn't an easy 
film to make. It took 14 years to get made. 
It may be just as hard to market as it was to 

Then again, maybe not. Because The 
Princess Bride does have one thing going for 
it: People like it. 

"The screenings we've had have been 
wonderously positive," Seheinman says. 
"Of course, good screenings don't 
necessarily mean that a film will ultimately 
do wonderful business. But all our au- 
diences had a terrific response — the cards 
tended to say things like 'not like anything 
else,' 'unique,' 'always exciting.' " 

Even if the film doesn't catch on with 
mass audiences, Seheinman will have the 
satisfaction of knowing that one very special 
audience likes the film. 

"It was very important to us that Bill 
Goldman like the movie because it has been 
close to heart for years," Andrew Sehein- 
man says. "I talked to him recently and he's 
thrilled with it." 

And so Rob and the Princess lived happi- 
ly ever after. The movie grossed in the hun- 
dreds of millions, won every Academy 
Award imaginable, and was acclaimed as 
one of the greatest films ever made. 

That's the fairy tale ending, anyway. The 
final touches on the real life ending haven 't 
been written quite yet. ik 


(continued from page 41) 

in great luxury, and the larger part of the 
society was down in caves working like 
slaves and kept that way. 

"As 1 say," she continues, "I never saw- 
David Gerrold's work [outline] nor did I see 
Oliver Crawford's, so I don't know that it 
was static and didn't work. I wondered how 
in the world 1 could add action into this 
philosophical notion, and that's why I add- 
ed the gas in the caves which numbed the 
people's minds so that they appear to be 
stupid. For all 1 know, the story's first draft 
and teleplay may have been even more ac- 
ceptable than mine, but mine happened to 
be what the producer wanted." 

Armen's next association with Star Trek 
came during the animated series, where she 
penned "The Ambergris Element" and 
"The Lorelei Signal." 

"I didn't really see how an animated 
series could work," she admits candidly, 
"but they have marvelous artists at Filma- 
tion. Dorothy Fontana was the story editor 
and she approached me. I thought it would 
be fun, and she said that the main difference 
is that for the artists' sake, you must 
describe every scene and every action in 
great detail so that the artists will know what 
to draw. Both of my episodes were fun to 
write, and I enjoyed doing them." 

Next up was the proposed Star Trek II 
TV series of the mid-70s, for which Armen 
and collaborator Alf Harris wrote "The 
Savage Syndrome." In the teleplay, an alien 
device causes the Enterprise crew to revert to 
a more savage-like nature. 

"We had gone in with three stories, and it 
was 'The Savage Syndrome' that Gene liked 
because he was looking for Star Trek stories 
that were really different," Armen says. 
"Alf and I started with the 'what if?' motif. 
You always say, 'Scratch the surface and the 
savage bleeds,' so what if something hap- 
pens to these very disciplined people that 
strips them down to the basic emotions and 
drives of the cave. We pursued that line of 
thought. Also, they were looking for a ship- 
board show and this idea filled their needs 

While Margaret Armen has written for a 
variety of TV shows throughout the past 25 
years, it is her experience with Star Trek that 
has apparently left the strongest impression. 

"I always felt that Star Trek was a very 
special series," she concludes, "and that it 
would become a part of history. I loved do- 
ing it and I especially loved doing it when I 
could work with Gene Roddenberry because 
he was so creative. I'm very proud that I 
wrote for Star Trek because it gave you the 
opportunity to make comments on things 
that you couldn't on a regular series. You 
could make a social comment without them 
saying, 'Oh, you're attacking so-and-so.' In 
the future, you couldn't be attacking 
anything, although you were. Overall, 
writing for Star Trek was one of the hap- 
piest periods of my career." 



(continued from page 43) 

disciple in the 23rd century. This new mind- 
lord's activities naturally attract Spock's at- 
tention, but it's not long before they affect 
his friends as well. "McCoy is directly in- 
volved in this business. He has been doing 
stuff with the Fabrini and giving lectures at 
certain places, so he's going to wind up on 
Vulcan," Dillard notes. "Because it's part 
of the Roddenberry Canon, Kirk and Spock 
have no contact at this time, but I'll be 
weaving in a storyline about the brand-new 
admiral. These plots influence each other in 
a domino effect without ever coming face to 

And because she admits that "it would be 
hard to avoid it," readers can also expect to 
see a little bit more of Sarek and Amanda, a 
couple who, even after delving into their 
lives in her previous books, continue to 
fascinate her. "I think it's because of the 
fact that their relationship can exist at all. It 
contradicts everything the Vulcans have 
been telling us all along. They say, 'Oh, no. 
We're not emotional. Honest to goodness.' 
But, the fact that Sarek married this Earthi- 
er, that this guy obviously has the hots for 
her, really blows their cover, and people love 
to see this stuff. The most fun thing is to 
tweak a Vulcan and try to make him 

After Kolinahr, Dillard intends to return 
to making her audience squirm, this time 
with a terrifying tome of modern-day 
menace. "I'm still working on it. I have 200 
pages and a 14-page outline of it, but it has 
gotten sluffed off to the side. I've been so 
busy trying to get Bloodthirst and now 
Kolinahr finished," she explains. "So, one 
of these days, I promise I'm going to finish 
the darn thing. The stuff I already have with 
my agent is pretty gruesome, but then, I like 
Clive Barker." 

Don't think, however, that Dillard is 
abandoning Star Trek altogether. Indeed, 
she is already eager to do a Next Generation 
book should a series of those tomes develop, 
and denied the chance to do a "giant novel" 
about the Vulcan Reformation (Diane 
Duane suggested it to editor David Stern 
first), she has returned with a different idea: 

"It would be about James Kirk's years at 
Starfleet Academy," she elucidates. 
"Washington, D.C. is close to Annapolis, 
and I got inspired. I had met a couple of 
midshipmen and interviewed them, and it 
sounded like there's definitely some in- 
teresting things that could happen." 

What? No blood-letting? No hatchet- 
wielding maniacs stalking those hallowed 
halls? No horror elements at all? "Come to 
think of it, I really can't say that there are," 
J.M. Dillard admits. "I guess I'm going to 
have to clean my act up. Of course, I could 
have a few nice grisly catastrophes happen 
on the Academy grounds, but I'll try to con- 
trol myself and not have any vampires or 
werewolves lurking around." f? 

72 STAKLOG/December 1987 



Polly Freas, who died January 24, 
1987, was a tough lady to do business 
with. Her bright, youthful smile totally 
disarmed anyone in her presence while her 
sharp, determined mind reached out for 


ftxrttasy arib 

Science Jtttion 


a nov«!ef by 


Polly Freas posed for this magazine cover 
painted by her husband Kelly Freas. 

whatever she wanted. I speak from personal 
experience: In any negotiation, she was cer- 
tainly destined to win. 

Both sides of her personality — the 
sparkling-pixie child and the goal-directed 
warrior — attracted her husband, SF artist 
Kelly Freas, when he first met her at a 

science-fiction club meeting in Pittsburgh in 
1949. They went with each other for two 
years and married. Three years later, they 
had a daughter, Jacqui (Freas Neuman), 
and one year after that, a son, Jerry. 

For 35 years, Polly and Kelly Freas shared 
a love of science fiction and fantasy. They 
were constant, popular guests at numerous 
conventions— Kelly displaying his award- 
winning art and Polly joining the gang at a 
filk-sing or a costume competition or, most- 
ly, hanging around the art show helping her 

Polly was Kelly's only model for nearly 20 
years, and she also managed all aspects of 
his art business. They were fortunate to be 
partners in the world of fantasy, in the 
world of love and in the world of enterprise. 

In 1979, Polly was diagnosed with a form 
of terminal cancer. To everyone's surprise 
(except, perhaps, her own), she cured herself 
with an anti-cancer nutritional regime, and 
her death came, not due to the earlier 
cancer, but from an opportunistic cancer 
which was allowed to attack as a result of 
the immunosuppressants which were 
prescribed for her. 

Whenever I bumped into Kelly in a hotel 
elevator— there was Polly, bubbling with en- 
thusiasm. Whenever I spotted Polly across a 
lobby room— there was Kelly, with a 
childlike grin. They seemed inseparable. 
They created the kind of sunshine which 
makes the social life of science fiction a joy. 
— Kerry O'Quinn 


:ne of the busiest and most recognizable 
.voiceover performers in the industry, 
Paul Frees died of heart failure in Tiberon, 
California on November 1, 1986. 

Frees began his career as a comic in 
vaudeville and radio before moving into the 
area of dubbing and "looping" voices into 
feature films, TV programs and cartoon 
episodes. Although best-known for his work 
in TV commercials (The Pillsbury 
Doughboy, Mr. Good wrench, Toucan Sam) 
and cartoons (Boris Badenov and Inspector 
Fen wick on the Bullwinkle series, Ludwig 
von Drake on Disney), Frees also racked up 
an impressive number of voiceover credits in 
science-fiction films, particularly those of 
George Pal and Bert I. Gordon. He lent his 
vocal talents to Pal's When Worlds Collide 
(1951), Atlantis the Lost Continent (1961), 
and The Time Machine (1960, as the Voice 
of the Talking Rings) as well as to Gordon's 
The Cyclops (1957), Beginning of the End 
(1957), Tormented (1960) and more. He also 
narrated the 1986 Pal documentary /tribute 
The Fantasy Worlds of George Pal. Other 
genre films utilizing Frees as a voiceover ac- 

tor include Earth vs. the Flying Saucers 
(1956, "People of Earth, Attention!"), The 
27th Day (1957), The Manchurian Can- 
didate (1962) and The Forbin Project (1970, 
as the voice of Colossus). 

Additionally, Frees appeared as an on- 
screen performer in such films as Pal's The 
War of the Worlds (1953, as the 
newscaster), The Thing from Another 
World (1951, as Dr. Vorrhees), Space 
Monster X-7 (1958, as a scientist consumed 
by a Blob-type fungus) and Suddenly (1954, 
as Frank Sinatra's accomplice in a plot to 
murder the President). He also directed at 
least one film, The Beatniks, a 1959 juvenile 
delinquency melodrama starring Peter 
Breck. Many fans may best remember the 
actor for his role as John Beresford Tipton, 
the talkative but camera-shy philanthropist 
of TV's The Millionaire. 

Frees is survived by his son, daughter, 
sister and two brothers. 

— Tom Weaver 

Together with Kenneth Tobey (center with 
ax), Paul Frees (far right, with gun uprais- 
ed) confronted the menace of The Thing. 


At first, I thought I was being kidnapped by aliens. And 
it seemed like a good idea. Their plans are pretty much 
the same. They would examine me, record precise 
measurements, take tissue samples, study my sneakers. Then, 
maybe, if I was lucky, they would touch down somewhere in a 
wooded area not far from a major metropolis, scorch the 
ground a bit and let me go. 

Dazed but only partially amnesiatic, I would stagger to the 
relative safety of human civilization. Then, I could write a 
bestselling non-fiction book about the whole sordid experience, 
probably first draft on a world processor. The title would be 
Alien Ordeal: A True Story of Ennui Without End. Or The 
Milky Way on $25 a Day. Or maybe My Friends from the 
Planet Flicka. 

Sadly, they may not have really been aliens. They looked 
normal, just as normal as you or me. I did check them out. 
Their pinky fingers were extremely straight. There were no un- 
sightly tentacles attached to their brain stems. And their hair 
was. . . perfect. 

For that matter, they weren't staring out vacantly into space 
or being coldly unemotional. They know English like a second 
language. And they demonstrated free will: one used salt and 
so did the other. 

Yes, it was lunchtime with aliens. I wasn't on the menu, but 
1 was ill at ease. After all, the air conditioning was down. My 
fork was dirty. And seated at the tables around me were a 
great many silent strangers, men dressed entirely in black. 

For one brief and shining moment, I was reminded of Have 
Gun, Will Travel. 

But John Wayne photo on page 25 to the contrary, this 
isn't a Western. No, pilgrim, I was trapped in New 
York. . .dining with aliens. 

Dare I be more specific? Who were they? How come they 
dressed like that? Don't they own ties? And why did they pay 
for the meal in small, unmarked bills? Did they leave home 
without American Express? And what led them to ask me, 
someone who has read but never written bestselling horror 
paperbacks, out to eat? Should I have gone? Should I have 
brought a friend? Do I have a friend? How did they know I 
was hungry? What if I hadn't had the fish? Would the breaded 
pork chops have been OK? Did I get any onion soup in my 
moustache? Was my hair combed all right? And have they 
been breeding chinchillas for long? 

1 don't know. Those are the questions that haunt me as 1 sit 
here, in my lonely, hot water fiat, rain pouring down outside, 
traffic in the distance, and the eerie sound of a Managing 
Editor, one Carr D'Angelo by name, pleading with me by 
phone, cajoling, threatening, demanding more inner words to 
fill this outer space. 

The story I've just related is true except for the part about 
the fork. 

But. . .now that you've perched on the edge of your La-Z- 
Boy-Lounger for 10 whole paragraphs, let me digress, issuing a 
few alien notes about other features. 

Golly! Some weeks before its autumn premiere (my future, 

A very different Man in Black tries a specific lunch-hold on the 
non-alien Fezzik (Andre the Giant) in The Princess Bride. 

your past), I saw The Princess Bride. Wow! Terrific! Stupen- 
dous! Wonderful! A grand swashbuckler — as suspenseful and 
amusing as it is charming and adventurous. In the words of 
aliens everywhere: "I loved it. It was better than Cats." Really, 
as a longtime William Goldman fan, I was quite pleased by 
Rob Reiner's superb film version based on Goldman's script 
(see page 29). If you haven't seen The Princess Bride yet, get to 
your local theater, you'll live happily ever after. 

Excuse me. They're asking for a disclaimer. Mr. McDonnell 
does not mean to imply that seeing The Princess Bride grants 
anyone immortality. This is presently beyond his powers. 

On another battlefront, not so long ago, STARLOG received 
a fascinating letter from James Cameron, the filmmaker behind 
ALIENS. He was, in fact, responding to reader letters from 
previous STARLOGs. We're publishing his remarks in full (see 
page 34), with spiffy illustrations by that famed Gang of One, 
Hugo-winning cartoonist Phil Foglio. Spiffy? Sorry, Phil. I'm 
running out of adjectives. 

And finally, lotsa kind comments. The commentee is veteran 
moviemaker John Carpenter — whose latest project, Prince of 
Darkness, is now in theaters everywhere. He has been inter- 
viewed in STARLOG and FANGORIA before. And while do- 
ing another interview (see page 12) with Senior Correspondent 
Steve Swires, Carpenter has this to say: 

"I've always been a fan of both STARLOG and 
FANGORIA," John Carpenter confesses. "I really like 
FANGORIA. It's a great magazine. It's ridiculous, but it's fun. 

"And I especially enjoy STARLOG's interviews with the 
industry veterans. I read the Jeff Morrow interview [by Tom 
Weaver, in STARLOG #118], and I thought of him for a part. 
I called him up, and we met for lunch. We talked about the 
old days. I even got him to reminisce about Kronos and The 
Giant Claw, which were films I loved as a kid. Jeff and I both 
want to work together. It was the STARLOG article which 
inspired me to contact him. 

"Sometimes, I get all fired up about writing a book about 
my Hollywood experiences. But then I talk to STARLOG, and 
get it all out of my system. In fact, many people have told me 
how much they liked the last interview you [Steve Swires] did 
with me [STARLOG #115] because it seemed that it was 
straight. I enjoyed the article myself. I felt it accurately por- 
trayed my feelings at the time. I was very, very impressed with 
it. Keep up the good work." 

Kind words indeed. Thanks, John. Hearing such praise is far 
better than getting kidnapped by aliens, believe me. 

—David McDonnell/ Editor (September 1987) 

The future in STARLOG: In upcoming months, Caroline Munro updates her career. . .Hugo-winning SF 
author Frederik Pohl relives the horrors of Chernobyl. . .William Campbell, better known as the Squire of 
Gothos and a Klingon named Koloth, points out "The Trouble with Tribbles." 

The legendary Ray Harry hausen bids farewell to film fantasy. . . Lynn Abbey welcomes visitors to Thieves' 
World. . . Peter Davison looks back (in TARDIS) at Doctor Who. . .and in our very next issue, Bill Paxton, 
that somewhat hysterical hero Hudson in ALIENS, remembers his suicidal sojourn on Acheron. 

There'll be other Christmas presents, too. So, rally round the tree (or perhaps the local newsstand) for 
STARLOG #126, on sale Thursday, December 3, 1987. 

74 ST P&LOG/ December 1987 

Ul ' 



West End Games proudly announces the 
release of the first three products in our 
exciting new Star Wars game line — Star 
Wars: The Roleplaying Game, The Star Wars 
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Everything you need to play Star Wars: The 

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• 144-page hardcover book, 16 full-color 
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(Available Mid-October) 
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I, and other starships the way they flew 
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battles! Star Warriors can be played with 
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• Boxed game: full-color map, rules book, 180 
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The Star Wars Sourcebook 

(Available Early November) 
A wealth of useful and fascinating 
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of the roleplaying game — and for all Star 
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• 144-page hardcover book, printed 2-colors 



251 West 30th Street 
New York, NY 10001 

TM & © 1987 Lucasfilm Ltd.-(LFL). All Rights Reserved. Trademarks of LFL used by West End Games. Inc. under authorization. 

Now You Can Own the First Ever 
Officially Authorized 


Porcelain Doll 

For more than 20 years, people all over the 
world have been captivated by the powerful 
drama and futuristic vision of Star Trek % , And 
among the many dynamic members of the 
Starship Enterprise crew, the calm and ratio- 
nal Vulcan "Mr. Spock" has emerged as the 
all-time favorite. 

Now, commemorating the 20th anniver- 
sary of Star Trek, The Hamilton Collection, in 
association with Ernst Enterprises, is proud 
to present "Mr. Spock" — the first offi- 
cially authorized porcelain doll that cap- 
tures the spirit of Star Trek. 

"Mr. Spock" is meticulously crafted in fine 
porcelain to capture the famous Vulcan's 
eyebrows, ears, and stoic appearance. What's 
more, he is posed displaying the well-known 
Vulcan greeting and farewell hand sign, 
meaning "live long and prosper." 

"Mr. Spock's" handsome uniform and insig- 
nia beautifully replicate the originals from the 
Star Trek television series. Your doll will arrive 
complete with its own stand, ready for home 
display. "Mr. Spock" can be yours for the rea- 
sonable price of only $75 (plus $2.16 ship- 
ping and handling], payable in three convenient, 
monthly installments of only $25.72 — with 
only one due prior to shipment. 

As an owner of "Mr. Spock," you will have 
the right — but never the obligation — to acquire 
all future issues in the Star Trek Doll Collection 
as they become available. Furthermore, you 
may return any doll within 30 days of receipt 
for a full refund. 

This "Mr. Spock" doll represents a unique 
and lasting tribute to the most popular char- 
acter in Star Trek history. What's more, this 
handsome doll is the first officially authorized 
porcelain Star Trek doll. Thus, fans and doll 
collectors alike are expected to compete 
heavily to acquire "Mr. Spock." So to avoid 
disappointment, send in your application today! 

Produced by R. J. Ernsc Enterprises Inc. under 
exclusive license from Paramount Pictures 
Corporation. Star "H*ek is a Registered Trade- 
mark of Paramount Pictures Corporation. 
©1966, 1987 Paramount Pictures Corpora- 
tion. All Rights Reserved. 

Respond by: Stardate 8712.31 
(December 31, 1987) 

Limit: One doll per subscriber 
Accept my application for the "Mr. Spook" doll. I 
prefer to pay the first of three monthly install- 
ments of $25.72* as follows: 

□ I enclose my check or money order. 

□ Charge my credit card: □ Visa □ MasterCard 
□ American Express 

Acct. No. 

Exp. Date . 


Address _ 

.002572 29447CM 


State Zip 

Signature i 

■'Florida residents add SI. 29 and IL residents add S1.81 

for tax. All applications must be signed and are subject 
to acceptance. Please allow 6 — 8 weeks from date of 
application for shipment. Deliveries made only to the 
U.S. and its territories. 

The Hamilton Collection 

9550 Regency Square Blvd., P.O. Box 44051 , Jacksonville, FL 32231